Pedacitos de Resistencia: Socially Engaged Work in Latin American Special Collections

Resistance and protest can take many forms, not only occupying public spaces but challenging the subtle ways of social control in daily life or the things that go unnoticed, like walls and broadcasting. Graffiti, much like the images of marching crowds, serves as a tangible manifestation of resistance by appropriating public spaces. 

As this exhibit explores creative and diverse ways of resistance throughout Latin America, it is key to highlight the role of the Assembly of Revolutionary Artists of Oaxaca (ASARO). ASARO is an art collective from Oaxaca, Mexico, that originated from the teacher protests in 2006. 

ASARO thus becomes a channel that expresses the social discontent and political discomfort from “the people.” Exploring the different barriers of expression, ASARO transforms the urban landscape into a canvas that narrates the stories and challenges of Getting Up for the People. This act is carried out by referencing Mexican cultural symbols, achieving a deep and significant connection with collective identity, and highlighting the importance of visual storytelling in the fight for social justice.

One of the distinctive characteristics of ASARO’s pieces is the use of cultural references that have a deep and rich meaning in Mexican history and heritage. These symbols not only communicate the values of ASARO, but they also celebrate the Mexican artistic and political legacy. 

The Calavera (skull) is a significant resource of the Day of the Dead, a traditional celebration of death in Mexican culture that dates back to prehispanic times. As a graphic resource, the Calavera is associated with the work of Jose Guadalupe Posada, a Mexican artist who used the Calavera not only to satirize and critique the politics of the time but also to praise this Mexican symbol. Posada, alongside the artists from the Taller de Grafica Popular (TGP), employed this resource to satirize the politics of the time. This influence is reflected in the work of ASARO, which uses these cultural elements not only to satirize or critique but also to honor the rich visual history of Mexico (Cardoza y Aragón, 2011).

Cultural symbols of resistance and protection are often used. The images of Emiliano Zapata and the Virgen de Guadalupe are frequently featured. Zapata was a leader of the Mexican Revolution, and he is often showcased in ASARO’s art, sometimes in a modernized form. One example of this dynamic is the "Punk Zapata" piece, where ASARO merges two powerful images associated with rebellion. The artwork serves as a compelling commentary on the ongoing struggle for social justice, weaving together elements from the past and present into a cohesive visual narrative.

Furthermore, ASARO artfully incorporates Catholic allusions, which are profoundly meaningful considering their importance in Mexican culture. The Virgen de Guadalupe, “Patroness of Latin America, Queen of Mexico,” symbolizes protection and humility for all people. 

Another example of the usage of catholic references but in a different context is portrayed in their 2012 piece "La Ultima Cena Mexicana" (The Mexican Last Supper), where the commentary is directed towards drug cartels and violence. In this piece, we can identify the decapitated head of Benito Juarez, former president of Mexico and symbol of democracy, as well as some of the faces of the "apostles," like the former president Enrique Pena Nieto and one of the wealthiest men on earth, the Mexican Carlos Slim. The piece critiques corruption and inequality in Mexico and the betrayal of people by politics and the elites. 

References:

Cardoza y Aragón, Luis. “LAS CALAVERAS DE JOSÉ GUADALUPE POSADA.” Artes de México, no. 67, 2011, pp. 36–41. JSTOR, http://www.jstor.org/stable/24315573. Accessed 2024. 

To understand Mexico's social and political dynamics, it is crucial to comprehend women's issues and forms of resistance. According to an article published by the Wilson Center (Kloppe-Santamaria and Zulver, 2023), around 10 women were murdered every day in the country. Despite that fact, women in Mexico also have a history of fighting for their rights and dignity.

One of the most remarkable episodes of resistance was the takeover of a radio station in Oaxaca by approximately 350 women during the 2006 teacher protests in the region. 

These determined women, heartfelt supporters of the movement, took to the streets with pans in their hands, symbolizing their resistance as the protests intensified. Beyond simply advocating for their cause, these women sought an essential media outlet to voice their opinions and demands. By standing firm, they challenged the preconceptions about female and indigenous passivity by using household items such as pans as a symbolic defense against possible police repression. 

In a patriarchal state where women's political participation remains contested, their spatial mobilization paved the way for a profound reimagining of their roles and visibility within the Oaxacan social movement. 

The work of ASARO also plays a significant role in highlighting the current challenges faced by women related to feminicidios (femicides) across Mexico. Their art has also served as a powerful instrument for loudly denouncing abuses of power. 

References:

Kloppe-Santamaria, Gemma, and Julia Zulver. “Beyond Collateral Damage: Femicides, Disappearances, and New Trends in Gender-Based Violence in Mexico.” Wilson Center, 27 June 2023, www.wilsoncenter.org/article/beyond-collateral-damage-femicides-disappearances-and-new-trends-gender-based-violence#:~:text=Statistics%20on%20gender%2Dbased%20violence,the%20National%20Public%20Security%20System.

ASARO calls for social transformation: "When we say pueblo, we're talking about the farm worker, the wage worker, the housekeeper, the student, etc. They drive us to lift their morale and inspire them to keep fighting... For those who are asleep, we want to give them a purpose- a desire to struggle and to take off their chains of exploitation" -Mario, ASARO.  

This energy arises within the context of global dynamics, particularly evident in the impact of the North American Free Trade Agreement (NAFTA) on the region. Fueled by U.S. corporate dependence, the maquiladora system has driven internal migration. Young, illiterate, and impoverished women from rural Oaxaca have become subject to exploitation as a result.  

ASARO's artistic manifestations bring victims' tales to light, highlighting the tragic loss of countless lives in the borderlands. The intersection of social art, activism, and the harsh reality of global dynamics exemplifies ASARO's dedication to exposing systematic injustices and developing a common desire for liberation and justice.

You can access these and more posters at the Center for Southwest Research and Special Collections at UNM.

From NMArchives: The collection includes wood engraving prints, event posters, mural stencils, and digital captures. Themes include land rights, political prisoners, government corruption, political violence, police brutality, violence against women, art exhibitions, and nationalization of agriculture and oil. 

A 2018 addition includes 19 prints on colored tissue paper banners strung together, reminiscent of papel picado or prayer flags. Many of the flags bear portraits of some of the 43 students missing since the 2014 mass kidnapping in Iguala, Guerrero. Others depict images of Emiliano Zapata and revolutionary symbols. This addition includes unprocessed items labeled "community tags."

Extent: 695+ items (1 box, three folders, one unprocessed box): Approximately 220 prints, 20 posters, five oversize mural stencils in 6 sections, 450 digital captures; uncounted ephemera

Identifier: PICT-2010-005

ASARO in the New Mexico Digital Collections