{"id":7502,"date":"2011-01-27T12:57:46","date_gmt":"2011-01-27T19:57:46","guid":{"rendered":"http:\/\/eltecolote.org\/content\/?p=7502"},"modified":"2011-01-27T12:57:46","modified_gmt":"2011-01-27T19:57:46","slug":"animated-documentary-to-cover-500-years-of-border-history-from-marginalized-perspectives","status":"publish","type":"post","link":"https:\/\/eltecolote.org\/content\/en\/animated-documentary-to-cover-500-years-of-border-history-from-marginalized-perspectives\/","title":{"rendered":"Animated documentary to cover 500 years of border history from marginalized perspectives"},"content":{"rendered":"
\"\"<\/a>
Image for Frontera! John Jota Lea\u00f1os\u2019 latest animated project, which will explore five centuries of U.S.-Mexico borderlands. Photo Courtesy John Lea\u00f1os<\/figcaption><\/figure>\n

John Jota Lea\u00f1os, an Assistant Professor of Social Practices and Community Arts at the California College of the Arts, is a disrupter.<\/p>\n

His battlefield is the social, political and cultural consciousness of the nation. His weapons are an array of art mediums, which he uses to educate, cajole, and poke the public into action and thought.<\/p>\n

\u201cMy approach to art is by any medium necessary. I use any skills I can to get the message out,\u201d said Lea\u00f1os.<\/p>\n

Originally from Pomona, California, Lea\u00f1os\u2019 bio states that he \u201cidentifies as part of the mainly hybrid tribe of Mexitaliano Xicangringo G\u00fceros called \u2018Los Mixtupos\u2019 (mixt-up-oz).\u201d<\/p>\n

In the late 1990s, while working on a Master\u2019s in Fine Art at San Francisco State University, Lea\u00f1os became involved in the Mission District through the Galeria de la Raza\u2019s \u201cRegeneraci\u00f3n Project,\u201d an incubator for emerging Latino artists.<\/p>\n

There, Lea\u00f1os found his bearing as an artist\/educator and began to analyze the connection between mass media and public education. \u201cThe pedagogy of how we learn to speak, to learn and to live and what our desires are, is kind of framed within the media and sometimes determined by what we watch on TV, what we read and the films we see. And for less educated people it\u2019s even a more determining fact.\u201d<\/p>\n

Politics and social engagement became the signature of his work. As a result, he began to provoke responses.<\/p>\n

In 2000, he did a series of art posters with Rene Garcia called \u201cThe San Francisco Historical Circle of the Displaced\u201d and fashioned along the lines of historical markers that highlight events and civic leaders. But instead of celebrating noble acts the posters, displayed along Market Street, served as anti-monuments spotlighting incidents of displacement. \u201cIt was a re-visioning of San Francisco history told from the perspective of the displaced. We got mail from people who were upset by our perspective.\u201d<\/p>\n

It wouldn\u2019t be long before Lea\u00f1os would face bigger controversy.<\/p>\n

In early 2004 solider Pat Tillman was killed by enemy fire while serving in Afghanistan. Tillman had a thriving pro football career with the Arizona Cardinals when he joined the Army Rangers in 2002 as a personal response to the 9-11 attacks. In death Tillman was held up by conservatives as the All-American hero celebrated for his combat bravery and used to gain public support for the War on Terror.<\/p>\n

However, a month later the true facts emerged that Tillman had, in fact, been killed by friendly fire from his own troops.<\/p>\n

Lea\u00f1os was teaching in the Chicano Studies Department at Arizona State University and where Tillman had attended college.<\/p>\n

Lea\u00f1os decided to use Tillman\u2019s death to examine issues of heroism and war by creating a poster featuring a uniformed Tillman with a statement questioning war. It created a backlash storm. At a public ASU forum Lea\u00f1os spoke about the controversy and explained that framing Tillman\u2019s \u201cimage as an untouchable American hero raises critical questions about militarism, truth and America\u2019s declared infinite War on Terror, questions that in a democracy we should not be afraid to ask.\u201d<\/p>\n

The Tillman incident was a learning experience. \u201cWhen you do political work and you are out in the public realm there is always an openness to be criticized, to push buttons,\u201d said Lea\u00f1os, who received hate mail and death threats.<\/p>\n

Leano\u2019s newest project, \u201cFrontera! Animated Histories of the Southwest Borderlands,\u201d continues his efforts to question, educate and create public dialogue.<\/p>\n

With \u201cFrontera!,\u201d Lea\u00f1os and colleagues are taking on the development of the U.S. Southwest by examining 500 years of colonial border history from a Chicano\/Indio perspective through a series of animated episodes. \u201cWhat we are doing with the Frontera piece is looking at the past and trying to tap into an alternative historical narrative, to talk about a place that has been mired by political violence and bloodshed and controversy.\u201d<\/p>\n

The idea of using animation as a tool for public education has its roots in Lea\u00f1os\u2019 childhood. \u201cGrowing up with Schoolhouse Rocks (an animated educational musical on network television until 1985) and learning my verbs and nouns and numbers I was really kind of inspired about using the format of the Saturday morning cartoons to teach history and knowledge.\u201d<\/p>\n

Documentary animation is an emerging film genre that has been successfully used in films such as Waltz with Bashir.<\/p>\n

Lea\u00f1os is collaborating with Bay Area writer\/artist Sean Levon Nash, a Chockaw-Comanche urban Indian; Chilean-American Pablo Christie from East Los Angeles and Crystal Gonzalez, a Chicana animator from Reno. Lea\u00f1os will also bring Los Cuatro Vientes, a Tucson mariachi, and a New Mexico composer Crist\u00f3bal Mart\u00ednez on board.<\/p>\n

The group is focusing on three 8-minute chapters.<\/p>\n

The first is \u201cThe Making of the Southwest Borderlands,\u201d a whirlwind remapping of five centuries of migration, settlement and conflict. \u201cWe will probably overwhelm people a but that\u2019s the idea we want to get through that history is complex and that what we\u2019ve been taught is a watered down version.\u201d<\/p>\n

The \u201cBlack Legend\u201d explores two indigenous uprisings in New Mexico \u2013 the Pueblo Revolt of 1680 and the assassination of the first American governor, Charles Bent, in 1847. Lea\u00f1os sees these rebellions, which are missing from history books, as the first real American revolutions.<\/p>\n

The third chapter, \u201cGold Green,\u201d will examine the California Gold Rush from environmental and native perspectives.<\/p>\n

Lea\u00f1os is working with US Artists (USA), a grant-making organization that invests in artists and highlights their value to society.<\/p>\n

Through the USA website they have a fundraising commitment to raise $6,000. They currently need $2,000 to reach their goal by Feb. 18 or be denied funds.<\/p>\n

A glimpse of Lea\u00f1os work at www.leanos.net is proof enough that this prolific artist\/educator will continue his conscious disruptive activity using media to make us think about the world and the daily messages we receive.<\/p>\n

\u201cFor me it really about engaging people, bearing witness and using my skills, my talent and my privilege as an educated person within the walls of empire and the little resources that I have to tell these stories. To use art and culture to raise questions, and to inspire people as well,\u201d said Lea\u00f1os.<\/p>\n

\"\"<\/a>
Los ABCs is Lea\u00f1os\u2019 five-minute anti-war documentary animation musical. It can be watched at www.leanos.net\/projects.html Photo Courtesy John Lea\u00f1os<\/figcaption><\/figure>\n","protected":false},"excerpt":{"rendered":"

John Jota Lea\u00f1os, an Assistant Professor of Social Practices and Community Arts at the California College of the Arts, is a disrupter. His battlefield is the social, political and cultural consciousness of the nation. His weapons are an array of art mediums, which he uses to educate, cajole, and poke the public into action and […]<\/p>\n","protected":false},"author":8,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"newspack_popups_has_disabled_popups":false,"newspack_featured_image_position":"","newspack_post_subtitle":"","newspack_article_summary_title":"Overview:","newspack_article_summary":"","newspack_hide_updated_date":false,"newspack_show_updated_date":false,"footnotes":""},"categories":[7],"tags":[862,25],"coauthors":[],"class_list":["post-7502","post","type-post","status-publish","format-standard","hentry","category-news","tag-john-leanos","tag-transporte","entry"],"yoast_head":"\nAnimated documentary to cover 500 years of border history from marginalized perspectives - El Tecolote<\/title>\n<meta name=\"description\" content=\"John Jota Lea\u00f1os, an Assistant Professor of Social Practices and Community Arts at the California College of the Arts, is a disrupter. 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