1 00:00:05,160 --> 00:00:07,400 Speaker 1: Hey, this is Annie and Samantha and welcome to Stefan 2 00:00:07,520 --> 00:00:19,800 Speaker 1: Never told you productive iHeartRadio, and today we are once 3 00:00:19,840 --> 00:00:22,640 Speaker 1: again doing a female first, which means we are once 4 00:00:22,680 --> 00:00:26,120 Speaker 1: again thrilled to be joined by the lovely, the delightful, 5 00:00:26,280 --> 00:00:27,760 Speaker 1: the talented Eves. 6 00:00:27,760 --> 00:00:32,080 Speaker 2: Welcome. Yeah, hello, he once again happy to be here. 7 00:00:32,560 --> 00:00:34,040 Speaker 2: We're so happy to have you. 8 00:00:34,840 --> 00:00:38,160 Speaker 1: We just had a we always have these conversations before, 9 00:00:38,640 --> 00:00:40,320 Speaker 1: and I'm like, why we we need to talk about 10 00:00:40,360 --> 00:00:46,440 Speaker 1: this on the show, about celebrity culture and ownership around 11 00:00:46,479 --> 00:00:50,639 Speaker 1: that and people who write in and complain about very 12 00:00:50,680 --> 00:00:52,920 Speaker 1: specific things and why that might be. 13 00:00:54,240 --> 00:00:56,560 Speaker 3: Yeah, and if you're that kind of person, don't do 14 00:00:56,640 --> 00:00:58,840 Speaker 3: it now. I'm just saying you can do whatever. 15 00:00:58,640 --> 00:01:03,080 Speaker 4: You want to the calling in versus just complaining. Please 16 00:01:03,080 --> 00:01:05,960 Speaker 4: don't complain. We have enough complaints in our lives that 17 00:01:06,120 --> 00:01:06,759 Speaker 4: we don't need. 18 00:01:07,680 --> 00:01:12,080 Speaker 3: Is this some kind of intervention or maybe it might be, 19 00:01:12,080 --> 00:01:15,160 Speaker 3: because honestly, Annie, I think it's needed. If you're thinking 20 00:01:15,160 --> 00:01:18,080 Speaker 3: about doing something waking up in the morning, logging onto 21 00:01:18,120 --> 00:01:21,640 Speaker 3: your computer or opening your phone email app that you 22 00:01:21,840 --> 00:01:26,560 Speaker 3: use and typing a rude email to somebody, maybe just. 23 00:01:26,520 --> 00:01:28,399 Speaker 2: Take a moment to breathe. 24 00:01:29,560 --> 00:01:33,679 Speaker 3: And then like consider whether this needs to be said 25 00:01:34,120 --> 00:01:36,080 Speaker 3: at all, or maybe said in the way that you're 26 00:01:36,120 --> 00:01:41,000 Speaker 3: considering saying it, and then continue, So that might still 27 00:01:41,080 --> 00:01:44,160 Speaker 3: end in you sending the email, But like, I think 28 00:01:44,200 --> 00:01:46,200 Speaker 3: the least that can be done is just taking a 29 00:01:46,280 --> 00:01:47,480 Speaker 3: pause for consideration. 30 00:01:48,080 --> 00:01:49,360 Speaker 2: And this is constructive. 31 00:01:50,320 --> 00:01:56,360 Speaker 1: It great questions we all need to ask ourselves. 32 00:01:56,800 --> 00:01:59,480 Speaker 4: Encouragements are always welcome. We get a lot of those. 33 00:01:59,480 --> 00:02:01,160 Speaker 4: We don't talk enough about that, but we get a 34 00:02:01,240 --> 00:02:04,120 Speaker 4: lot of those. But the ones things that are out 35 00:02:04,120 --> 00:02:06,440 Speaker 4: of our control, I think we had a like it's 36 00:02:06,480 --> 00:02:09,200 Speaker 4: a constant trying to explain like ads. That's one of 37 00:02:09,200 --> 00:02:12,480 Speaker 4: the number one things is like, if we're not actually 38 00:02:12,600 --> 00:02:15,919 Speaker 4: voicing these ads, the likelihood of us knowing what's happening 39 00:02:16,000 --> 00:02:18,720 Speaker 4: and the US approving it is probably didn't happen. Like 40 00:02:18,760 --> 00:02:22,680 Speaker 4: it's very rare. So let us know without being mad 41 00:02:22,720 --> 00:02:23,040 Speaker 4: at us. 42 00:02:23,880 --> 00:02:26,440 Speaker 2: Yeah, do let us Okay, sometimes some of those are. 43 00:02:26,320 --> 00:02:29,080 Speaker 4: Real with you, with you, we just didn't know what 44 00:02:29,120 --> 00:02:30,400 Speaker 4: was happening, So don't be mad at us. 45 00:02:31,440 --> 00:02:34,560 Speaker 1: Well, that's another thing, because we were talking about this, 46 00:02:35,480 --> 00:02:38,080 Speaker 1: Samantha and I we just did an episode on like 47 00:02:38,280 --> 00:02:43,520 Speaker 1: embarrassment and and one of the things I I don't 48 00:02:43,600 --> 00:02:45,840 Speaker 1: like is, as I was saying, celebrity culture. But it 49 00:02:45,919 --> 00:02:48,360 Speaker 1: kind of freaks me out. This Like when I see 50 00:02:48,400 --> 00:02:51,960 Speaker 1: people like do person on the Street interviews and the Dale's, 51 00:02:52,400 --> 00:02:56,400 Speaker 1: they're so eager for their like fifteen minutes that they'll 52 00:02:56,440 --> 00:02:58,520 Speaker 1: just say anything, they'll do anything in it. That kind 53 00:02:58,560 --> 00:03:00,960 Speaker 1: of freaks me out that mentality. And then something you 54 00:03:01,000 --> 00:03:04,120 Speaker 1: were talking about eves with you know, who's going to 55 00:03:04,160 --> 00:03:08,280 Speaker 1: see this thing, this angry message or whatever. Something else 56 00:03:08,320 --> 00:03:11,280 Speaker 1: that I ponder about sometimes is when people are pre mad. 57 00:03:11,880 --> 00:03:15,200 Speaker 1: So it's like I've seen some businesses that have signs 58 00:03:15,200 --> 00:03:18,040 Speaker 1: that are like if you don't believe in God, you 59 00:03:18,120 --> 00:03:18,760 Speaker 1: ain't welcome. 60 00:03:18,919 --> 00:03:20,160 Speaker 2: Like all right, well, alter. 61 00:03:22,639 --> 00:03:24,480 Speaker 1: Like maybe I did, maybe I did it, But now 62 00:03:24,520 --> 00:03:26,600 Speaker 1: I'm like, you're pre angry, and I don't want to do. 63 00:03:26,760 --> 00:03:28,919 Speaker 2: That, and I don't want to do with this. 64 00:03:29,480 --> 00:03:31,640 Speaker 3: Yeah, and if you walked into that store, it's like 65 00:03:31,960 --> 00:03:33,880 Speaker 3: you probably are not going to have a conversation about 66 00:03:33,919 --> 00:03:37,080 Speaker 3: God anyway, so you didn't even really know. Right, It's 67 00:03:37,160 --> 00:03:39,760 Speaker 3: exclusionary and a totally unnecessary way. 68 00:03:39,680 --> 00:03:41,680 Speaker 1: Right, because I totally I'm all for, like, you know, 69 00:03:41,720 --> 00:03:43,840 Speaker 1: put up your pride bags, you know, all that kind 70 00:03:43,880 --> 00:03:44,400 Speaker 1: of stuff. 71 00:03:44,800 --> 00:03:45,880 Speaker 2: But for you to be like. 72 00:03:47,440 --> 00:03:51,600 Speaker 4: Immediately tell someone that you're not welcomed, don't come in straight, 73 00:03:52,480 --> 00:03:55,560 Speaker 4: it may not be aimed at that. Like let's say 74 00:03:55,600 --> 00:03:58,200 Speaker 4: it is something about like anti masking. If you wear 75 00:03:58,280 --> 00:04:00,520 Speaker 4: a mask, don't come in here. I'm automatly. Oh I'm 76 00:04:00,560 --> 00:04:02,440 Speaker 4: also Asians. I definitely can't come in here either, So 77 00:04:02,440 --> 00:04:04,920 Speaker 4: I'll go ahead, and even if I'm not wearing a mask, 78 00:04:05,000 --> 00:04:07,600 Speaker 4: you know, like that's an automatic sign. So you're not 79 00:04:07,600 --> 00:04:10,120 Speaker 4: just cutting off that one group of people, you're cutting 80 00:04:10,120 --> 00:04:15,920 Speaker 4: off a level. Yes, that is pretty mad, and I 81 00:04:15,920 --> 00:04:17,640 Speaker 4: am pretty scared, so I'm gone. 82 00:04:19,600 --> 00:04:20,200 Speaker 2: Exhausting. 83 00:04:20,240 --> 00:04:24,240 Speaker 3: Though it's exhausting to be mad without an impetus for 84 00:04:24,360 --> 00:04:27,200 Speaker 3: being mad, Like it's already it takes a lot of 85 00:04:27,320 --> 00:04:30,599 Speaker 3: energy already to be angry, right right, So to make 86 00:04:30,640 --> 00:04:32,920 Speaker 3: ourselves angry before we need to be. 87 00:04:35,000 --> 00:04:42,400 Speaker 1: It's a waste of resources. You're right, right, right, right right. 88 00:04:42,480 --> 00:04:44,440 Speaker 1: This is not aimed at anybody in particular. By the way, 89 00:04:44,480 --> 00:04:46,160 Speaker 1: we were just talking about this. 90 00:04:46,160 --> 00:04:49,719 Speaker 4: Before, I was also, yeah, like there's some big news 91 00:04:49,720 --> 00:04:52,360 Speaker 4: happening in like celebrity world. People are already getting mad, 92 00:04:52,400 --> 00:04:55,200 Speaker 4: and I'm like, oh, yeah, this is interesting. This is 93 00:04:55,200 --> 00:04:58,919 Speaker 4: a this is a sociological like study of how people 94 00:04:58,960 --> 00:05:01,400 Speaker 4: react when it comes to fandoms. 95 00:05:02,120 --> 00:05:04,880 Speaker 2: Right, yeah, yeah, what we've talked about for Yeah. 96 00:05:04,920 --> 00:05:08,039 Speaker 3: I think it's also just really easy now to assume 97 00:05:08,080 --> 00:05:10,039 Speaker 3: that we have a wealth of knowledge based on a 98 00:05:10,080 --> 00:05:11,279 Speaker 3: limited base of knowledge. 99 00:05:11,320 --> 00:05:12,560 Speaker 2: Like we're thinking about. 100 00:05:12,440 --> 00:05:14,640 Speaker 3: Celebrities and we're like, yeah, I saw in this article, 101 00:05:14,760 --> 00:05:17,160 Speaker 3: like they started dating this person and they broke up 102 00:05:17,200 --> 00:05:19,760 Speaker 3: with them because this person cheated on them. And I 103 00:05:19,839 --> 00:05:22,320 Speaker 3: know all of this because I've been following two years 104 00:05:22,320 --> 00:05:26,720 Speaker 3: worse of like you know, ten hours of like forums 105 00:05:26,760 --> 00:05:30,960 Speaker 3: I'm following or just articles I've read, And so I 106 00:05:31,000 --> 00:05:34,240 Speaker 3: assume that I have fan theories. I assume that I 107 00:05:34,279 --> 00:05:36,640 Speaker 3: have like a wealth of knowledge about somebody's life when 108 00:05:36,640 --> 00:05:41,600 Speaker 3: it's really just a very very tiny modicum of information 109 00:05:41,720 --> 00:05:42,200 Speaker 3: that I have. 110 00:05:42,680 --> 00:05:44,320 Speaker 2: But I think it's easy to do. 111 00:05:44,240 --> 00:05:47,119 Speaker 3: That, you know, yeah, you're totally this kind of person 112 00:05:47,160 --> 00:05:49,320 Speaker 3: because I have this small amount of information about them, 113 00:05:49,320 --> 00:05:51,880 Speaker 3: when it's like no, I don't. 114 00:05:51,680 --> 00:05:53,719 Speaker 4: Know, right, And then the thing is like, if you're 115 00:05:53,720 --> 00:05:56,880 Speaker 4: doing this on your own amusement, it's a thing. But 116 00:05:56,920 --> 00:05:59,400 Speaker 4: then when you start like blasting and calling people out, 117 00:05:59,480 --> 00:06:02,440 Speaker 4: being angry at people, sending letters, sending hate things. They're like, 118 00:06:02,720 --> 00:06:04,360 Speaker 4: that's where we're concerned. 119 00:06:04,920 --> 00:06:08,640 Speaker 1: Yeah, that's the sure, that's so this is really a PSA. 120 00:06:08,880 --> 00:06:14,480 Speaker 2: It's not it's not blame. No, this is a public 121 00:06:14,480 --> 00:06:15,400 Speaker 2: service announcement. 122 00:06:15,480 --> 00:06:21,680 Speaker 4: Right, It's gonna be okay, everyone, it's gonna be okay. 123 00:06:22,560 --> 00:06:26,040 Speaker 1: Yes, yes, we're gonna get through this. But I am 124 00:06:26,160 --> 00:06:29,720 Speaker 1: very excited to talk about who you brought today. I 125 00:06:29,760 --> 00:06:31,920 Speaker 1: got to see some amazing art that I've never seen before. 126 00:06:32,040 --> 00:06:35,280 Speaker 1: And I'm sure this person faced a lot of criticism, 127 00:06:36,880 --> 00:06:39,800 Speaker 1: A nice segue, a lot of iron for sure. Who 128 00:06:39,839 --> 00:06:40,880 Speaker 1: did you bring for us today? 129 00:06:40,880 --> 00:06:41,159 Speaker 2: Eves? 130 00:06:41,520 --> 00:06:46,000 Speaker 3: Today we're talking about Aurora Race. So her art is wonderful. 131 00:06:46,120 --> 00:06:49,720 Speaker 3: I really recommend anybody who hasn't seen it check it out. 132 00:06:50,320 --> 00:06:52,279 Speaker 3: I've only been to Mexico City once, it did not 133 00:06:52,279 --> 00:06:54,360 Speaker 3: get the opportunity to see her art while I was 134 00:06:54,400 --> 00:06:56,640 Speaker 3: there because it was a very short time. So I'm 135 00:06:56,680 --> 00:06:59,880 Speaker 3: looking forward to hopefully being able to see some in person. 136 00:07:00,320 --> 00:07:03,400 Speaker 3: But she created she made the first mural that was 137 00:07:03,440 --> 00:07:06,760 Speaker 3: done by a Mexican born female artist, so she wasn't 138 00:07:06,800 --> 00:07:09,560 Speaker 3: the first woman in Mexico. You know, we can get 139 00:07:09,600 --> 00:07:12,880 Speaker 3: into these kinds of weird technicalities when we're talking about 140 00:07:12,920 --> 00:07:16,280 Speaker 3: female first. She wasn't the first woman in Mexico to 141 00:07:16,280 --> 00:07:19,320 Speaker 3: get a mural commission, that was an American woman, but 142 00:07:19,480 --> 00:07:21,640 Speaker 3: she was the first Mexican born woman to get a 143 00:07:21,720 --> 00:07:25,800 Speaker 3: mural commission from the government, so she's considered Mexico's first 144 00:07:25,920 --> 00:07:30,800 Speaker 3: female muralist. So a person who did a lot of 145 00:07:30,840 --> 00:07:35,920 Speaker 3: work in discovering and documenting the history and the biography 146 00:07:36,240 --> 00:07:39,880 Speaker 3: of Aurora Rays was doctor Dina Coma Senenco Mierican, so 147 00:07:39,960 --> 00:07:42,440 Speaker 3: you can read some of her work. A lot of 148 00:07:42,480 --> 00:07:46,040 Speaker 3: the documentation about Aurora Rays is in Spanish, so if 149 00:07:46,080 --> 00:07:49,280 Speaker 3: you are fluent in Spanish and you're able to read it, 150 00:07:49,920 --> 00:07:53,280 Speaker 3: then you'll be able to enjoy a lot more of 151 00:07:53,320 --> 00:07:56,960 Speaker 3: the works on Aurora Rays. But art historian and scholar 152 00:07:57,320 --> 00:08:01,400 Speaker 3: doctor Dina Comasenanco American has read in works in English 153 00:08:01,440 --> 00:08:04,280 Speaker 3: about her that you can read, and she talks about 154 00:08:04,280 --> 00:08:09,720 Speaker 3: how female Mexican muralists have been quote virtually ignored, and 155 00:08:09,760 --> 00:08:13,360 Speaker 3: she says that that could potentially be because people believed 156 00:08:13,800 --> 00:08:18,520 Speaker 3: women didn't have the physicality to paint murals, that they 157 00:08:18,520 --> 00:08:21,040 Speaker 3: didn't really have an interest in public art in the 158 00:08:21,040 --> 00:08:23,720 Speaker 3: early nineteen hundreds, or that it was only men who 159 00:08:23,800 --> 00:08:30,000 Speaker 3: painted murals in Mexico. So the history and the documentation 160 00:08:30,600 --> 00:08:34,760 Speaker 3: of Mexican muralism does focus a lot on men, and 161 00:08:35,480 --> 00:08:37,720 Speaker 3: it was a lot of men who were painting murals 162 00:08:37,760 --> 00:08:39,800 Speaker 3: at the time due to a lot of the things 163 00:08:39,840 --> 00:08:42,400 Speaker 3: that we talk about, who had access to do it, 164 00:08:42,480 --> 00:08:44,480 Speaker 3: who was asked to do it, especially in these things 165 00:08:44,480 --> 00:08:48,400 Speaker 3: like government commissions. Who was highlighted by the people who 166 00:08:48,440 --> 00:08:50,480 Speaker 3: were choosing to document certain things. 167 00:08:50,520 --> 00:08:53,800 Speaker 2: But there were women who were involved in Mexican muralism. 168 00:08:53,520 --> 00:08:57,760 Speaker 3: Who also had political stances in their muralism, So they 169 00:08:57,760 --> 00:09:00,520 Speaker 3: weren't quiet, They weren't reticent about things all the time, 170 00:09:00,559 --> 00:09:03,480 Speaker 3: even though they weren't always focused on socio political themes, 171 00:09:03,480 --> 00:09:06,560 Speaker 3: but they were and they had seen things to say 172 00:09:06,559 --> 00:09:17,920 Speaker 3: and they often said them through murals during this time period. 173 00:09:23,760 --> 00:09:27,280 Speaker 3: So now I guess we can get into Aurora Race herself. 174 00:09:28,000 --> 00:09:30,959 Speaker 3: She was born on September ninth, nineteen oh eight, in 175 00:09:31,000 --> 00:09:34,760 Speaker 3: Hidalgo des Paral in the state of Chihuahua. The Mexican 176 00:09:34,800 --> 00:09:38,000 Speaker 3: Revolution started just a couple of years after she was born, 177 00:09:38,679 --> 00:09:44,840 Speaker 3: and her family was involved in politics, and her grandfather 178 00:09:45,080 --> 00:09:48,560 Speaker 3: was the politician in general Bernardo Race, and her uncle 179 00:09:48,640 --> 00:09:51,720 Speaker 3: was Alfonso Race, who was a writer and a scholar, 180 00:09:52,080 --> 00:09:55,480 Speaker 3: and her mother was named Luisa Flores, so her family 181 00:09:55,640 --> 00:10:01,360 Speaker 3: was relatively wealthy and had some notoriety, but they were 182 00:10:01,400 --> 00:10:06,320 Speaker 3: politically persecuted. In nineteen thirteen, her father, who was land Race, 183 00:10:07,120 --> 00:10:11,079 Speaker 3: had to leave his hometown because of his political leanings 184 00:10:11,120 --> 00:10:14,560 Speaker 3: and the family fleet to Mexico City, so her mother 185 00:10:14,880 --> 00:10:18,600 Speaker 3: spent time baking bread and Aurora helped with selling it 186 00:10:18,640 --> 00:10:22,440 Speaker 3: at the market. And Aurora even said in a nineteen 187 00:10:22,520 --> 00:10:26,000 Speaker 3: fifty three interview that quote art is the medium with 188 00:10:26,080 --> 00:10:30,800 Speaker 3: the greatest potential to penetrate human emotions and therefore functions 189 00:10:31,240 --> 00:10:34,359 Speaker 3: as a powerful weapon in the fight for the rights 190 00:10:34,440 --> 00:10:37,480 Speaker 3: of the common man. She also said that she was 191 00:10:37,520 --> 00:10:41,840 Speaker 3: interested in social issues because she suffered hunger and misery, 192 00:10:42,040 --> 00:10:47,600 Speaker 3: so she was invested in because of her personal experience 193 00:10:48,520 --> 00:10:51,480 Speaker 3: with dealing with challenges economic. 194 00:10:51,120 --> 00:10:54,560 Speaker 2: Struggle and also social struggle. 195 00:10:55,320 --> 00:10:59,320 Speaker 3: So she was invested in art being able to be 196 00:10:59,520 --> 00:11:04,080 Speaker 3: a vehicle for making things happen in the social and 197 00:11:04,120 --> 00:11:06,960 Speaker 3: political spheres, and she believed that it was a weapon. 198 00:11:07,800 --> 00:11:13,640 Speaker 3: So her experiences with poverty helped her feel and empathize 199 00:11:13,679 --> 00:11:16,080 Speaker 3: with what it was like to be in that struggle 200 00:11:16,520 --> 00:11:20,880 Speaker 3: and helped lead her into the revolutionary practices and matters 201 00:11:20,880 --> 00:11:22,760 Speaker 3: that she was involved in later in life. 202 00:11:23,240 --> 00:11:24,600 Speaker 2: So this started pretty early. 203 00:11:24,679 --> 00:11:27,720 Speaker 3: Her consciousness started developing pretty early, and she was already 204 00:11:27,720 --> 00:11:31,120 Speaker 3: put in those spaces because of her family. And so 205 00:11:31,160 --> 00:11:34,320 Speaker 3: she began attending the National Preparatory School, which is where 206 00:11:34,320 --> 00:11:36,880 Speaker 3: she met Free to Callo. But she was only there 207 00:11:36,960 --> 00:11:40,439 Speaker 3: for a short period of time, and she was supposedly 208 00:11:40,520 --> 00:11:43,720 Speaker 3: expelled not long after enrolling for getting into some kind 209 00:11:43,760 --> 00:11:47,280 Speaker 3: of conflict with another classmate. But she and Free to 210 00:11:47,360 --> 00:11:49,679 Speaker 3: Callo ended up being lifelong friend, so you'll see her 211 00:11:49,679 --> 00:11:54,240 Speaker 3: come up in her story over their entire lives. At 212 00:11:54,280 --> 00:11:59,080 Speaker 3: age thirteen, Aurora Rays began taking classes at the National 213 00:11:59,160 --> 00:12:01,680 Speaker 3: School of Fine Arts and she ended up graduating in 214 00:12:01,760 --> 00:12:07,360 Speaker 3: nineteen twenty four at age sixteen. So it's necessary to 215 00:12:08,760 --> 00:12:11,960 Speaker 3: form a foundation of a little bit of background of 216 00:12:12,000 --> 00:12:14,160 Speaker 3: what was happening at the time. Since it was the 217 00:12:14,200 --> 00:12:17,760 Speaker 3: Mexican Revolution, there was a lot of political turbulence, and 218 00:12:17,840 --> 00:12:21,959 Speaker 3: of course Aura Rays herself was incorporating some of her 219 00:12:22,000 --> 00:12:25,640 Speaker 3: own political ideas and the things that were happening in 220 00:12:25,720 --> 00:12:28,800 Speaker 3: society at the time in her art. So there was 221 00:12:28,920 --> 00:12:33,960 Speaker 3: Porphyrio Diaz, who people listening have likely heard of before. 222 00:12:34,040 --> 00:12:37,800 Speaker 3: He had been in power since the eighteen seventies in Mexico, 223 00:12:37,960 --> 00:12:41,679 Speaker 3: and he had opened up Mexico to foreign investment. So 224 00:12:41,920 --> 00:12:44,520 Speaker 3: there was this thing happening where like the wealthy elite 225 00:12:44,520 --> 00:12:47,480 Speaker 3: were benefiting, but the rural workers and the peasants were 226 00:12:47,520 --> 00:12:53,600 Speaker 3: suffering under these policies. But Diaz suppressed opposition, and then 227 00:12:53,679 --> 00:12:56,440 Speaker 3: people began to challenge his rule and to fight for 228 00:12:56,520 --> 00:12:59,440 Speaker 3: lamb reform. So obviously that's a very abbreviated version of 229 00:12:59,440 --> 00:13:03,800 Speaker 3: everything that was happening. It was very complex, and it 230 00:13:03,840 --> 00:13:06,560 Speaker 3: was a lot more other policies than that that affected 231 00:13:06,559 --> 00:13:10,679 Speaker 3: the people who were living in Mexico. But in nineteen eleven, 232 00:13:10,760 --> 00:13:15,240 Speaker 3: Diez resigned and he went into exile. So, after much 233 00:13:15,280 --> 00:13:18,840 Speaker 3: conflict and many changes in leadership, a new constitution in 234 00:13:18,880 --> 00:13:23,320 Speaker 3: Mexico was approved in nineteen seventeen. So that constitution called 235 00:13:23,320 --> 00:13:28,440 Speaker 3: for things like land reform, the nationalization of resources, and workers' rights, 236 00:13:28,800 --> 00:13:32,440 Speaker 3: and it opened up the government's role in helping and 237 00:13:32,480 --> 00:13:37,640 Speaker 3: providing for its citizens. But the president then Venustiano Carranza, 238 00:13:37,840 --> 00:13:42,240 Speaker 3: ignored this, and many historians say that the election of 239 00:13:42,280 --> 00:13:46,320 Speaker 3: President Alvaro Obergone in nineteen twenty was the end of 240 00:13:46,320 --> 00:13:49,640 Speaker 3: the revolution, but there was still conflict that continued after that, 241 00:13:49,800 --> 00:13:52,680 Speaker 3: so not all historians are completely aligned on that being 242 00:13:52,720 --> 00:13:55,240 Speaker 3: the end. But we know how things like this can 243 00:13:55,280 --> 00:13:59,000 Speaker 3: often be when it comes to war and revolution, that 244 00:13:59,520 --> 00:14:03,280 Speaker 3: the beginning points and endpoints of things can be kind 245 00:14:03,280 --> 00:14:05,800 Speaker 3: of fuzzy, depending on what people want to consider the 246 00:14:05,840 --> 00:14:10,640 Speaker 3: marker of endpoints. The point is that conflict continued and 247 00:14:10,960 --> 00:14:15,080 Speaker 3: General Lazaro Cardenas was elected president in nineteen thirty four. 248 00:14:15,679 --> 00:14:19,200 Speaker 3: He implemented a lot of changes, and he pressed four 249 00:14:19,320 --> 00:14:22,440 Speaker 3: more on those revolutionary goals than people who were previously 250 00:14:22,440 --> 00:14:26,400 Speaker 3: empowered did. He did things like nationalized railways and the 251 00:14:26,400 --> 00:14:31,920 Speaker 3: oil industry, and he redistributed land, and he was involved 252 00:14:31,920 --> 00:14:35,720 Speaker 3: in other social and economic reforms that happened in the country. 253 00:14:36,240 --> 00:14:39,640 Speaker 3: And one of those things was after nineteen twenty, public 254 00:14:39,800 --> 00:14:43,800 Speaker 3: art became a more important means of educating Mexican people, 255 00:14:44,440 --> 00:14:47,520 Speaker 3: many of whom were poor and who couldn't read, and 256 00:14:48,040 --> 00:14:50,480 Speaker 3: murals in particular, were a medium to do so. So 257 00:14:50,880 --> 00:14:52,840 Speaker 3: if you're familiar with the history of art or even 258 00:14:52,920 --> 00:14:56,320 Speaker 3: the way art operates in many of our cities today, 259 00:14:56,720 --> 00:14:59,680 Speaker 3: and how public art is very accessible to people is 260 00:15:00,120 --> 00:15:04,320 Speaker 3: that people in different neighborhoods of different class levels and 261 00:15:04,360 --> 00:15:08,640 Speaker 3: economic situations can access. So being able to use that 262 00:15:08,680 --> 00:15:11,600 Speaker 3: as a vehicle for education is something that means that 263 00:15:11,600 --> 00:15:14,880 Speaker 3: it can reach more people and may even be more 264 00:15:15,040 --> 00:15:19,520 Speaker 3: interesting to people. So a movement began where the government 265 00:15:19,520 --> 00:15:24,120 Speaker 3: commissioned mostly male artists to paint these murals to teach 266 00:15:24,120 --> 00:15:28,280 Speaker 3: folks about their history and were future facing as well, 267 00:15:28,320 --> 00:15:31,240 Speaker 3: so helping them think about the history but also in 268 00:15:31,280 --> 00:15:34,400 Speaker 3: what ways they would move forward and the things that 269 00:15:34,440 --> 00:15:36,960 Speaker 3: could be done, the things that should be considered to 270 00:15:37,000 --> 00:15:41,480 Speaker 3: create this kind of social progress. So three names that 271 00:15:41,560 --> 00:15:46,680 Speaker 3: are highly associated with this Mexican muralism movement, they were 272 00:15:46,720 --> 00:15:51,040 Speaker 3: considered the three greats were Diego Rivera da vid Alfaro 273 00:15:51,120 --> 00:15:55,400 Speaker 3: Sicios and Jose Clemente Odolsco. They were considered the three grades, 274 00:15:55,440 --> 00:15:58,880 Speaker 3: and of course they're all men, but they were influential 275 00:15:58,920 --> 00:16:03,120 Speaker 3: in that movement. Aurora raised work focused on topics that 276 00:16:03,240 --> 00:16:07,680 Speaker 3: she and many other activists artists like she was, were 277 00:16:07,760 --> 00:16:13,200 Speaker 3: concerned with in this revolutionary era, like education, workers' rights, 278 00:16:13,240 --> 00:16:17,760 Speaker 3: and gender. So Kama Senenko Mirkin, the scholar who I 279 00:16:17,800 --> 00:16:20,520 Speaker 3: was referring to earlier, she talks about how women artists 280 00:16:20,560 --> 00:16:23,640 Speaker 3: at that time shared common themes in their work, like 281 00:16:23,720 --> 00:16:28,080 Speaker 3: the challenges of motherhood, gender violence, and infant death. And 282 00:16:28,200 --> 00:16:30,800 Speaker 3: you'll see that in some of her art as well 283 00:16:30,840 --> 00:16:32,040 Speaker 3: if you go and take a look at it. But 284 00:16:32,040 --> 00:16:36,920 Speaker 3: it'll come up later in her story. So this is 285 00:16:37,200 --> 00:16:42,120 Speaker 3: where Aurora Ray's career in art really picks up. In 286 00:16:42,240 --> 00:16:46,000 Speaker 3: nineteen twenty five, she had her first solo exhibition of drawings. 287 00:16:46,720 --> 00:16:49,400 Speaker 3: In that same year, she married journalists and writer hoort 288 00:16:49,440 --> 00:16:53,440 Speaker 3: Hey Goodoy. She had had one child with a previous partner, 289 00:16:53,520 --> 00:16:57,240 Speaker 3: and then she had one child with Orge Goodoy. She 290 00:16:57,520 --> 00:17:01,080 Speaker 3: and Goodoy did end up divorcing, though, and they ended 291 00:17:01,120 --> 00:17:04,960 Speaker 3: contact with each other and she raised her children. She 292 00:17:05,040 --> 00:17:07,600 Speaker 3: wrote a letter to one of her children while she 293 00:17:07,760 --> 00:17:10,280 Speaker 3: was pregnant at one point, and there is a quote 294 00:17:10,880 --> 00:17:14,320 Speaker 3: from this letter in an essay by Dina Koma Saankomerkan 295 00:17:14,560 --> 00:17:18,200 Speaker 3: that's called frieda Callo and Aurora rais painting. 296 00:17:17,760 --> 00:17:20,879 Speaker 2: To the voice of Concha Michael. So here's the quote. 297 00:17:21,680 --> 00:17:23,919 Speaker 3: I call you my daughter because I want you to 298 00:17:24,000 --> 00:17:27,800 Speaker 3: know that all women have dreamt of dignifying life. Right now, 299 00:17:27,840 --> 00:17:30,720 Speaker 3: we must conquer a place of justice and respect in 300 00:17:30,760 --> 00:17:33,439 Speaker 3: the face of the future, so that there will be 301 00:17:33,560 --> 00:17:37,520 Speaker 3: balance and fraternity among our children, so that no wars 302 00:17:37,640 --> 00:17:41,920 Speaker 3: arise out of clumsy ambitions. And we must destroy once 303 00:17:41,960 --> 00:17:45,600 Speaker 3: and for all the chains of slavery formed by ignorance, hatred, 304 00:17:45,720 --> 00:17:48,679 Speaker 3: and poverty. And that's the end of the quote. So 305 00:17:49,280 --> 00:17:51,560 Speaker 3: not to confuse people, she did not have a daughter. 306 00:17:52,080 --> 00:17:54,679 Speaker 3: Both of her children were sons, but she still wrote 307 00:17:54,720 --> 00:17:56,760 Speaker 3: this letter when she was pregnant. 308 00:17:57,119 --> 00:17:58,440 Speaker 2: So clearly. 309 00:17:59,680 --> 00:18:02,080 Speaker 3: We see her values through this quote. We see what 310 00:18:02,160 --> 00:18:04,800 Speaker 3: she cared about. We see that she cared about creating 311 00:18:05,520 --> 00:18:10,840 Speaker 3: a future that was good to everybody in society. She 312 00:18:10,960 --> 00:18:16,280 Speaker 3: cared about gender, she cared about no war happening, she 313 00:18:16,400 --> 00:18:20,480 Speaker 3: cared about poverty, she cared about people's education levels, and 314 00:18:21,000 --> 00:18:24,000 Speaker 3: not just in a way that was that was emotional 315 00:18:24,040 --> 00:18:28,159 Speaker 3: intelligence and also other kinds of intelligence. So in nineteen 316 00:18:28,200 --> 00:18:31,679 Speaker 3: twenty seven, Riz taught art in public schools and she 317 00:18:31,800 --> 00:18:34,200 Speaker 3: ended up doing this for a little bit under forty years, 318 00:18:34,200 --> 00:18:39,480 Speaker 3: so a long time. She also joined that year the 319 00:18:39,520 --> 00:18:42,720 Speaker 3: Mexican Communist Party and she stayed in that party for 320 00:18:42,800 --> 00:18:48,080 Speaker 3: the next thirteen years. She was one of several people 321 00:18:48,480 --> 00:18:51,920 Speaker 3: who later left the Communist Party and was removed from 322 00:18:51,920 --> 00:18:56,160 Speaker 3: the party for having quote links with Trotskyist groups, always 323 00:18:56,160 --> 00:18:59,879 Speaker 3: working without connection with the party's higher organizations and base, 324 00:19:00,440 --> 00:19:04,760 Speaker 3: and receiving influences from people foreign to the political line 325 00:19:04,800 --> 00:19:07,720 Speaker 3: of the PCM. In nineteen thirty she was also part 326 00:19:07,760 --> 00:19:11,439 Speaker 3: of the first group show of posters and phono montages 327 00:19:11,480 --> 00:19:15,680 Speaker 3: in Mexico City, and she was connected with many many 328 00:19:15,840 --> 00:19:18,680 Speaker 3: artists and activists that we've already brought up Freeda Collo. 329 00:19:18,840 --> 00:19:23,640 Speaker 3: She was also connected to Diego Rivera, Maria Esquierdo and 330 00:19:23,840 --> 00:19:27,439 Speaker 3: other people. And I also earlier brought up Concha Michel. 331 00:19:27,640 --> 00:19:30,760 Speaker 3: She was close to her. Concha Michell was a singer 332 00:19:30,920 --> 00:19:35,840 Speaker 3: and an activist, and Aura Rais included a portrait of 333 00:19:35,880 --> 00:19:40,080 Speaker 3: Michel and a mural that she painted, and she painted 334 00:19:40,080 --> 00:19:43,600 Speaker 3: a portrait of Michel Freeda Callo and herself that she 335 00:19:43,760 --> 00:19:47,320 Speaker 3: called Concha Aurora Efrida, So she was part of her 336 00:19:47,440 --> 00:19:50,760 Speaker 3: life as well. In terms of other organizations that Aurora 337 00:19:50,880 --> 00:19:53,800 Speaker 3: Rais was in, she was also part of the Mexican 338 00:19:54,560 --> 00:19:59,439 Speaker 3: Republic Teachers Union and the National Peasants Confederation. In the 339 00:19:59,480 --> 00:20:03,359 Speaker 3: Teachers U Union, she was secretary of Women's Action and 340 00:20:03,520 --> 00:20:07,239 Speaker 3: through that work she advocated for women's suffrage, things like 341 00:20:07,680 --> 00:20:12,680 Speaker 3: more maternity leave, and women's right to be in positions 342 00:20:12,680 --> 00:20:16,840 Speaker 3: of political power like higher government position and other rights 343 00:20:16,840 --> 00:20:19,480 Speaker 3: for women. So that was a big thing that she 344 00:20:19,600 --> 00:20:23,359 Speaker 3: advocated for. A lot of the work that she did 345 00:20:23,920 --> 00:20:28,639 Speaker 3: was influenced by LEAR or the League of Revolutionary Writers 346 00:20:28,720 --> 00:20:33,480 Speaker 3: and Artists. LEIR operated from nineteen thirty four to nineteen 347 00:20:33,600 --> 00:20:37,119 Speaker 3: thirty seven, which was a short time, but it was 348 00:20:37,400 --> 00:20:42,439 Speaker 3: all about art and about social responsibility, and it was 349 00:20:43,280 --> 00:20:49,520 Speaker 3: ideologically aligned with leftist politics. It organized lectures and other 350 00:20:49,680 --> 00:20:53,840 Speaker 3: kinds of activities, and it was really centered around the 351 00:20:53,880 --> 00:20:56,480 Speaker 3: power of art, kind of going back to that quote 352 00:20:56,520 --> 00:20:59,600 Speaker 3: that I brought up that Aurora Race said earlier about 353 00:20:59,680 --> 00:21:02,840 Speaker 3: believing in the power of art to create social change. 354 00:21:03,280 --> 00:21:04,800 Speaker 2: So the people she. 355 00:21:04,840 --> 00:21:08,679 Speaker 3: Was around in that organization, the ideology that it focused on, 356 00:21:08,880 --> 00:21:13,080 Speaker 3: and the activities that it organized were in alignment with 357 00:21:13,119 --> 00:21:16,800 Speaker 3: the things that Aura Rays cared about. So that in 358 00:21:16,920 --> 00:21:20,639 Speaker 3: this point we come to the mural that is often 359 00:21:20,680 --> 00:21:23,440 Speaker 3: talked about and associated with Aura Rays, which is called 360 00:21:23,680 --> 00:21:27,399 Speaker 3: a take a la mastre rural, which means attack on 361 00:21:27,440 --> 00:21:30,960 Speaker 3: the rural teacher. So that was created for an elementary 362 00:21:31,000 --> 00:21:36,280 Speaker 3: school called centrol Escolar Revolution, which was in a neighborhood 363 00:21:36,400 --> 00:21:41,680 Speaker 3: in Mexico City. So this school, according to Camasenko, American 364 00:21:42,000 --> 00:21:46,240 Speaker 3: was a quote experimental model school for testing socialist education 365 00:21:47,080 --> 00:21:50,719 Speaker 3: and the essential instrument for building the broad popular support 366 00:21:50,840 --> 00:21:54,840 Speaker 3: needed for social reform end quote. The school was located 367 00:21:55,280 --> 00:21:56,959 Speaker 3: on the site where there used to be a prison, 368 00:21:57,160 --> 00:22:01,240 Speaker 3: so that site was transformed and it became educational institution. 369 00:22:01,400 --> 00:22:04,480 Speaker 3: That was the school, and that school had also had 370 00:22:04,800 --> 00:22:09,640 Speaker 3: a gym and a track in pool and libraries and 371 00:22:09,920 --> 00:22:13,720 Speaker 3: the government commissioned the League of Revolutionary Writers and Artists 372 00:22:13,760 --> 00:22:18,240 Speaker 3: to create murals for that school between the years of 373 00:22:18,320 --> 00:22:22,000 Speaker 3: nineteen thirty four and nineteen thirty six. So the artists 374 00:22:22,000 --> 00:22:25,440 Speaker 3: commissioned to do the works in that school were Raoul Aguiano, 375 00:22:25,560 --> 00:22:33,040 Speaker 3: Everardo Ramirez, Gonzalo de la Paz, Peres, Antonio Gutierrez, Ignacio Gomez, Hadamio, 376 00:22:33,240 --> 00:22:37,000 Speaker 3: and Aurora Race. So there were many murals in the 377 00:22:37,040 --> 00:22:40,600 Speaker 3: school and her mural was attack on the Rural Teacher. 378 00:22:41,440 --> 00:22:45,600 Speaker 3: So you can also see images of this mural online 379 00:22:46,720 --> 00:22:49,680 Speaker 3: and you'll see in it that it depicts two men 380 00:22:49,800 --> 00:22:54,640 Speaker 3: who are attacking a female teacher. One man is hitting 381 00:22:55,119 --> 00:22:57,520 Speaker 3: the teacher in the image with the rifle and the 382 00:22:57,560 --> 00:23:00,280 Speaker 3: other one is pulling her by her hair. The man 383 00:23:00,320 --> 00:23:03,040 Speaker 3: who is dragging her by her hair is also holding 384 00:23:03,080 --> 00:23:06,520 Speaker 3: money and kind of destroying a book, and the other 385 00:23:06,560 --> 00:23:08,920 Speaker 3: man is wearing this thing called a scapular, which is 386 00:23:08,960 --> 00:23:12,280 Speaker 3: an object that Roman Catholics were to show their devotion 387 00:23:12,359 --> 00:23:15,320 Speaker 3: to a saint, often to the Virgin Mary. So in 388 00:23:15,359 --> 00:23:18,680 Speaker 3: the background of the painting you'll see three children who 389 00:23:18,680 --> 00:23:21,199 Speaker 3: are kind of peeking out from behind a column, and 390 00:23:21,240 --> 00:23:24,480 Speaker 3: they're hiding their faces as they look at this violent scene. 391 00:23:24,760 --> 00:23:28,399 Speaker 3: There is also symbolism that identifies a man who is 392 00:23:28,480 --> 00:23:32,760 Speaker 3: dragging her by her hair as a member of a 393 00:23:32,800 --> 00:23:35,719 Speaker 3: Mexican Nazi group. He has on this gold shirt and 394 00:23:35,800 --> 00:23:39,159 Speaker 3: his arms and legs, if you look at the shape 395 00:23:39,200 --> 00:23:41,440 Speaker 3: of how they're set up in the image, are positioned 396 00:23:41,480 --> 00:23:44,040 Speaker 3: in the shape of a swastika, and the money that 397 00:23:44,080 --> 00:23:48,560 Speaker 3: he's holding symbolizes how his violent actions are tied to 398 00:23:48,680 --> 00:23:53,280 Speaker 3: capitalism and greed and with a or a raise and 399 00:23:53,320 --> 00:23:57,320 Speaker 3: her political leanings and involvement with the Mexican Communist Party, 400 00:23:57,960 --> 00:24:01,000 Speaker 3: a lot of her ideology. 401 00:24:00,400 --> 00:24:01,760 Speaker 2: And the work that she did. 402 00:24:03,119 --> 00:24:08,080 Speaker 3: Was indicative of her anti capitalism stances. So the mural 403 00:24:08,320 --> 00:24:11,679 Speaker 3: was a response to a massacre that happened at the 404 00:24:11,760 --> 00:24:16,640 Speaker 3: time where at least sixteen teachers were killed in a 405 00:24:16,760 --> 00:24:20,320 Speaker 3: village in the state of Guanajuato. And at the time, 406 00:24:20,480 --> 00:24:26,360 Speaker 3: people who supported Catholic controlled education in Mexico often attacked 407 00:24:26,480 --> 00:24:29,840 Speaker 3: royal teachers, So it wasn't something that was rare. It 408 00:24:29,880 --> 00:24:33,119 Speaker 3: was a response to something that was happening semi frequently. 409 00:24:33,720 --> 00:24:37,240 Speaker 3: There was an amount of violence in that way at 410 00:24:37,240 --> 00:24:40,359 Speaker 3: the time. And yeah, this work was in the school. 411 00:24:40,760 --> 00:24:44,560 Speaker 3: As it's put in The Power and Politics of Art 412 00:24:44,560 --> 00:24:48,080 Speaker 3: and Post Revolutionary in Mexico by Stephanie J. Smith quote, 413 00:24:48,119 --> 00:24:50,680 Speaker 3: the work must have acted as a warning to protect 414 00:24:50,680 --> 00:24:53,959 Speaker 3: public education for those who served on the front lines 415 00:24:54,119 --> 00:24:58,000 Speaker 3: of the educational battles. So were a raised being a 416 00:24:58,000 --> 00:25:01,879 Speaker 3: teacher herself, being concerned with education and knowing that it 417 00:25:01,920 --> 00:25:06,280 Speaker 3: would be part of the way for women and the 418 00:25:06,280 --> 00:25:08,600 Speaker 3: power that they would be able to express in the 419 00:25:08,640 --> 00:25:12,120 Speaker 3: coming years was focused on education, So it made sense 420 00:25:12,160 --> 00:25:14,000 Speaker 3: that she would be one of the people to create 421 00:25:14,040 --> 00:25:17,359 Speaker 3: a mural for this school. Her other murals are in 422 00:25:17,400 --> 00:25:20,800 Speaker 3: an auditorium in a complex that includes the National Teachers 423 00:25:20,840 --> 00:25:25,399 Speaker 3: Union headquarters. These murals were originally completed between nineteen fifty 424 00:25:25,480 --> 00:25:30,760 Speaker 3: nine and nineteen sixty one. So in she remain involved 425 00:25:31,480 --> 00:25:35,080 Speaker 3: in organizations throughout her life. In nineteen thirty eight she 426 00:25:35,200 --> 00:25:38,680 Speaker 3: went to the National Women's Congress in Havana and Cuba 427 00:25:38,720 --> 00:25:42,200 Speaker 3: as a delegate from the Teachers Union. And she also 428 00:25:42,320 --> 00:25:45,880 Speaker 3: continued her art in different ways. In the nineteen forties, 429 00:25:46,000 --> 00:25:48,760 Speaker 3: many of her poems were published, and she took part 430 00:25:48,840 --> 00:25:52,639 Speaker 3: in solo and group shows in Mexico and around the world, 431 00:25:53,200 --> 00:25:57,119 Speaker 3: and according to Camasenanco American, she got more acclaimed for 432 00:25:57,160 --> 00:26:00,920 Speaker 3: her poetry than she did for her painting. Eighteen forty seven, 433 00:26:01,000 --> 00:26:05,200 Speaker 3: the poem Mbre de Mexico was published, and in nineteen 434 00:26:05,280 --> 00:26:09,280 Speaker 3: fifty three Umanos Paisajes, her first book of poetry, was published. 435 00:26:10,320 --> 00:26:13,280 Speaker 3: And so she did a range of art for different mediums. 436 00:26:13,480 --> 00:26:19,360 Speaker 3: She did lithographs for political materials, she did drawings for books, 437 00:26:19,400 --> 00:26:24,080 Speaker 3: and oil pieces for portrait commissions and frescoes for public 438 00:26:24,200 --> 00:26:28,920 Speaker 3: work and things like that, and continue to focus on women, children, 439 00:26:29,680 --> 00:26:34,120 Speaker 3: Mexican traditions, the Mexican Revolution, and education and those kinds 440 00:26:34,160 --> 00:26:39,240 Speaker 3: of things. And she uplifted indigenous heritage and she protested 441 00:26:39,320 --> 00:26:42,640 Speaker 3: authoritarian governments. So if you look at her work, you'll 442 00:26:42,640 --> 00:26:48,480 Speaker 3: see that it's colorful. The figures are often curvy, thick like, 443 00:26:48,520 --> 00:26:50,000 Speaker 3: they're kind of like sensuous lines. 444 00:26:50,040 --> 00:26:52,640 Speaker 2: The lines are really expressive and wavy. 445 00:26:53,640 --> 00:26:56,439 Speaker 3: She has a mural called El Premier and Quentro or 446 00:26:56,520 --> 00:26:59,240 Speaker 3: The First Encounter, that was done in nineteen seventy eight, 447 00:26:59,320 --> 00:27:04,240 Speaker 3: which shows her depiction of the Spanish colonizers arriving in 448 00:27:04,800 --> 00:27:09,000 Speaker 3: Tenos te Lin. And there's also Women of War which 449 00:27:09,040 --> 00:27:13,040 Speaker 3: shows a woman that's holding a child who has passed 450 00:27:13,080 --> 00:27:15,920 Speaker 3: away and the woman is like appearing to be ready 451 00:27:15,960 --> 00:27:16,320 Speaker 3: to fight. 452 00:27:17,119 --> 00:27:20,280 Speaker 2: So there are a range. 453 00:27:20,040 --> 00:27:23,600 Speaker 3: Of different styles kind of in her work, Like some 454 00:27:23,680 --> 00:27:27,320 Speaker 3: you'll see have are a little bit more wavy, some 455 00:27:28,080 --> 00:27:33,199 Speaker 3: are a little bit more surrealistic in the style. Some 456 00:27:33,320 --> 00:27:36,000 Speaker 3: are porches of specific people, and of course these murals 457 00:27:36,040 --> 00:27:39,159 Speaker 3: are larger works that include a lot of people, but 458 00:27:40,119 --> 00:27:46,560 Speaker 3: they're very expressive and clearly show her values. 459 00:27:46,160 --> 00:27:47,920 Speaker 2: And the things that she cared about at the time. 460 00:27:49,200 --> 00:27:53,840 Speaker 3: She died in April of nineteen eighty five in Mexico City, 461 00:27:55,160 --> 00:27:59,320 Speaker 3: and she was known during her time and was recognized 462 00:27:59,400 --> 00:28:01,440 Speaker 3: during her time and the fact that she was publicly 463 00:28:02,000 --> 00:28:05,520 Speaker 3: commissioned to do these murals, but her legacy does live 464 00:28:05,520 --> 00:28:12,840 Speaker 3: on and her works still exist, and yeah, I am 465 00:28:12,880 --> 00:28:16,959 Speaker 3: really glad to be able to continue to uplift her 466 00:28:17,080 --> 00:28:33,440 Speaker 3: legacy and the things that she did for Mexican muralism. 467 00:28:33,560 --> 00:28:35,600 Speaker 1: I mean again, I'm so glad. I'm always so happy 468 00:28:35,640 --> 00:28:38,160 Speaker 1: when you bring in people I haven't heard of in 469 00:28:38,280 --> 00:28:38,880 Speaker 1: this art. 470 00:28:39,120 --> 00:28:41,160 Speaker 2: Her style is like right up my alley. 471 00:28:41,720 --> 00:28:44,000 Speaker 1: Also, I could listen to you have a podcast just 472 00:28:44,040 --> 00:28:46,280 Speaker 1: like walking me through the symbolism of art. 473 00:28:46,480 --> 00:28:47,360 Speaker 2: That was amazing. 474 00:28:48,400 --> 00:28:50,160 Speaker 4: Yeah, when you were doing it, I felt like I 475 00:28:50,200 --> 00:28:53,080 Speaker 4: was a back in art history class, which I loved. 476 00:28:53,360 --> 00:28:57,000 Speaker 4: Studying was hard, but loved hearing the explanations because you 477 00:28:57,040 --> 00:28:59,640 Speaker 4: were talking about the rural teachers one and I haven't 478 00:28:59,640 --> 00:29:01,560 Speaker 4: pulled up right now. You did such a great job. 479 00:29:01,640 --> 00:29:03,760 Speaker 4: Was like, oh, I didn't notice that, but yeah, well 480 00:29:03,840 --> 00:29:06,320 Speaker 4: that part too. But I do have a question. I 481 00:29:06,360 --> 00:29:08,160 Speaker 4: don't know if you know much about it, because this 482 00:29:08,280 --> 00:29:11,520 Speaker 4: is a fairly violent piece of art. It's moreous. The 483 00:29:11,520 --> 00:29:14,560 Speaker 4: colors are amazing, the way that it flows, like you 484 00:29:14,560 --> 00:29:16,560 Speaker 4: could go from the left to right in the art. 485 00:29:17,040 --> 00:29:18,760 Speaker 2: But how was it received. 486 00:29:18,400 --> 00:29:20,920 Speaker 4: In a public space like a school, because I can't 487 00:29:20,960 --> 00:29:22,360 Speaker 4: imagine everybody loved it. 488 00:29:22,560 --> 00:29:23,560 Speaker 2: That's a good question. 489 00:29:23,800 --> 00:29:26,960 Speaker 3: I know in general that there were people who were 490 00:29:27,040 --> 00:29:30,240 Speaker 3: against this kind of education at the time, and that's 491 00:29:30,280 --> 00:29:32,640 Speaker 3: the reason that some of these attacks were happening. But 492 00:29:32,720 --> 00:29:36,360 Speaker 3: I'm not sure exactly how it was like on site 493 00:29:36,560 --> 00:29:39,120 Speaker 3: received by the people who were there, because that is 494 00:29:39,160 --> 00:29:41,240 Speaker 3: one of the things that is interesting to me as well. Like, 495 00:29:41,280 --> 00:29:43,360 Speaker 3: of course, there was a lot of change happening at 496 00:29:43,360 --> 00:29:45,800 Speaker 3: the time in terms of like this school being built 497 00:29:45,840 --> 00:29:48,120 Speaker 3: in the kind of education that they were giving children, 498 00:29:49,000 --> 00:29:53,120 Speaker 3: and it wasn't necessarily status quo. It was something that 499 00:29:53,240 --> 00:29:56,600 Speaker 3: was just developing. So I'm really not sure, Like that's 500 00:29:57,120 --> 00:29:58,840 Speaker 3: a question that I would love to know the answer 501 00:29:58,840 --> 00:29:59,360 Speaker 3: to as well. 502 00:29:59,440 --> 00:30:02,440 Speaker 4: Right, Yeah, I would just love to see the reaction, 503 00:30:02,800 --> 00:30:06,440 Speaker 4: especially because it is so controvertic today seeing a piece 504 00:30:06,480 --> 00:30:10,000 Speaker 4: like this, I don't think would pass. There's so much 505 00:30:10,040 --> 00:30:12,280 Speaker 4: that we know of course, who are at a different 506 00:30:12,320 --> 00:30:16,480 Speaker 4: time and everything's the worst, but this type of art 507 00:30:16,680 --> 00:30:19,640 Speaker 4: as much an amazing history there is behind it and 508 00:30:19,680 --> 00:30:21,720 Speaker 4: the story that it tells, and even though you have 509 00:30:21,800 --> 00:30:25,800 Speaker 4: to take a closer look, like at the true violence 510 00:30:25,840 --> 00:30:29,280 Speaker 4: of it, it's quite shocking that it has survived. 511 00:30:29,960 --> 00:30:33,800 Speaker 3: Yeah, So I also I'm glad that you brought that up, Samantha, 512 00:30:33,880 --> 00:30:39,040 Speaker 3: because I'm also thinking about the fact that yes, it's 513 00:30:39,160 --> 00:30:41,160 Speaker 3: showing the things that are happening, and that this is 514 00:30:41,200 --> 00:30:44,480 Speaker 3: the reason that education is so important, but it is 515 00:30:44,520 --> 00:30:48,640 Speaker 3: physically violent. But also in this mural, she's showing children 516 00:30:48,680 --> 00:30:50,640 Speaker 3: who are looking at it, which I think becomes this 517 00:30:50,720 --> 00:30:53,760 Speaker 3: kind of like meta self referential thing where there are 518 00:30:53,840 --> 00:30:56,280 Speaker 3: children who are looking at this scene of violence, and 519 00:30:56,280 --> 00:30:58,240 Speaker 3: then there are children in the school who are looking 520 00:30:58,280 --> 00:31:00,240 Speaker 3: at these children in the mural looking at the scene 521 00:31:00,280 --> 00:31:00,760 Speaker 3: of violence. 522 00:31:01,000 --> 00:31:03,040 Speaker 2: But it's also like, these children who are going. 523 00:31:02,920 --> 00:31:07,960 Speaker 3: To these school have also likely seen scenes of violence themselves, 524 00:31:08,080 --> 00:31:10,600 Speaker 3: or a lot of them have seen scenes of violence themselves, 525 00:31:10,920 --> 00:31:13,560 Speaker 3: so it's not like something they're unfamiliar with. And it 526 00:31:13,640 --> 00:31:18,720 Speaker 3: just makes me think of this American tendency and proclivity 527 00:31:18,760 --> 00:31:20,080 Speaker 3: to shield children from. 528 00:31:19,960 --> 00:31:22,120 Speaker 2: Things that we deal with in real life. 529 00:31:24,000 --> 00:31:26,840 Speaker 3: So yeah, like I could imagine this being something that 530 00:31:27,000 --> 00:31:31,880 Speaker 3: is based on perceived or what's pretended to be mainstream 531 00:31:31,960 --> 00:31:36,680 Speaker 3: morals in the United States and my limited experience of 532 00:31:36,760 --> 00:31:38,680 Speaker 3: like how I live my life in this country being 533 00:31:38,760 --> 00:31:41,800 Speaker 3: like do we want I mean, just think about the 534 00:31:41,800 --> 00:31:44,000 Speaker 3: book bannings in the United States and the reasons that 535 00:31:44,120 --> 00:31:46,880 Speaker 3: books are banned, Like what we want our children to have. 536 00:31:47,080 --> 00:31:49,160 Speaker 3: The kind of information that we want our children to 537 00:31:49,160 --> 00:31:52,200 Speaker 3: have access to is such a topic of contention based 538 00:31:52,280 --> 00:31:56,040 Speaker 3: on religion and morals in the United States, and that's 539 00:31:56,080 --> 00:31:58,520 Speaker 3: because it's public school. This is still a public school 540 00:31:58,560 --> 00:32:01,280 Speaker 3: we're talking about. It's like, well, I have a say 541 00:32:01,480 --> 00:32:03,760 Speaker 3: in what should happen here. I'm a taxpayer, and this 542 00:32:03,760 --> 00:32:08,640 Speaker 3: should happen, so I would. I'm too, just like you, Samantha, 543 00:32:08,760 --> 00:32:10,920 Speaker 3: interested in knowing the answer to this question and fascinated 544 00:32:10,960 --> 00:32:15,000 Speaker 3: by it because it didn't seem like it didn't seem 545 00:32:15,040 --> 00:32:18,160 Speaker 3: like this was something the school was still allowed to exist, right, 546 00:32:18,280 --> 00:32:20,520 Speaker 3: It didn't seem like this was something where people were 547 00:32:20,520 --> 00:32:23,719 Speaker 3: showing up with tiki torches, you know, at the beginning 548 00:32:23,760 --> 00:32:26,200 Speaker 3: of the school day or holding signs outside of it, 549 00:32:26,360 --> 00:32:30,800 Speaker 3: protesting every day, at least as far as my limited information, 550 00:32:32,000 --> 00:32:34,520 Speaker 3: and it was allowed to exist and still exists, you know, 551 00:32:34,640 --> 00:32:39,040 Speaker 3: still does so yeah, I think I think. 552 00:32:38,840 --> 00:32:40,800 Speaker 2: That, Like I don't know. 553 00:32:40,840 --> 00:32:42,760 Speaker 3: In my head, I'm like the parents are showing up 554 00:32:42,760 --> 00:32:46,120 Speaker 3: at the PTA methings, you know, like they like take 555 00:32:46,160 --> 00:32:48,840 Speaker 3: this real down, Like I can't imagine something like that 556 00:32:48,880 --> 00:32:49,880 Speaker 3: happening then and there. 557 00:32:50,920 --> 00:32:55,200 Speaker 2: But I can't say that, I'm like, I know, right. 558 00:32:55,080 --> 00:32:58,920 Speaker 4: Well, I'm sure because she already had a reputation in 559 00:32:58,960 --> 00:33:01,520 Speaker 4: having political stances before she was commissioned to do these 560 00:33:01,520 --> 00:33:03,840 Speaker 4: types of murals, so that they may not have expected this, 561 00:33:03,920 --> 00:33:05,320 Speaker 4: but they knew it was going to be a statement. 562 00:33:05,560 --> 00:33:07,960 Speaker 4: They like the people who commission and knew it was coming. 563 00:33:08,800 --> 00:33:11,520 Speaker 4: I'm sure they had an idea of like, Okay, this 564 00:33:11,600 --> 00:33:14,120 Speaker 4: is gonna be a statement more than just. 565 00:33:14,120 --> 00:33:16,680 Speaker 2: A pretty piece of art. And obviously it is. 566 00:33:16,760 --> 00:33:19,440 Speaker 4: And again it's gorgeous, like it's I hate to call 567 00:33:19,560 --> 00:33:25,080 Speaker 4: anything that depicts such a sorrowful time as gorgeous, but 568 00:33:25,200 --> 00:33:26,960 Speaker 4: when it comes down to what she did and what 569 00:33:27,040 --> 00:33:29,640 Speaker 4: she created, it is it is art, it is it 570 00:33:29,680 --> 00:33:32,600 Speaker 4: is an amazing depiction. And then the way she made 571 00:33:32,640 --> 00:33:38,600 Speaker 4: sure the colors are the blends, the symbolism, the commonality throughout, 572 00:33:38,680 --> 00:33:41,280 Speaker 4: like it's it's perfect in my mind and what she 573 00:33:41,440 --> 00:33:44,880 Speaker 4: was trying to represent. But yeah, like in knowing again 574 00:33:44,960 --> 00:33:47,080 Speaker 4: that you're right, like I'm pushing back what I know 575 00:33:47,160 --> 00:33:50,000 Speaker 4: today to what this when this was created, and like 576 00:33:50,400 --> 00:33:53,000 Speaker 4: how how is it still standing and that we actually 577 00:33:53,040 --> 00:33:55,959 Speaker 4: have evidence that she did this and that it represented 578 00:33:56,000 --> 00:34:01,000 Speaker 4: this and it's full because as we know right now, 579 00:34:01,040 --> 00:34:04,959 Speaker 4: things are going terrifyingly bad at people trying to censor 580 00:34:05,120 --> 00:34:09,160 Speaker 4: so much and to erase so much that it's partially like, 581 00:34:09,280 --> 00:34:11,560 Speaker 4: how do we make sure that things like this keep 582 00:34:11,680 --> 00:34:14,200 Speaker 4: staying alive and we keep having a conversation about what 583 00:34:14,239 --> 00:34:16,279 Speaker 4: she represented, what she wanted to be known, what she 584 00:34:16,360 --> 00:34:19,640 Speaker 4: wanted to say through our art more so than anything else. 585 00:34:20,520 --> 00:34:22,480 Speaker 3: Yeah, but I think it's cool that you brought it 586 00:34:22,560 --> 00:34:26,640 Speaker 3: up because it does allow us to look at how 587 00:34:26,680 --> 00:34:30,800 Speaker 3: different cultures at different times versus how we consider things 588 00:34:31,360 --> 00:34:33,480 Speaker 3: today and consider the way we do things to be 589 00:34:33,560 --> 00:34:35,640 Speaker 3: the right way to do things. So it's like, what 590 00:34:35,680 --> 00:34:39,439 Speaker 3: can we learn from or raised art and it being 591 00:34:39,520 --> 00:34:42,840 Speaker 3: public art and what it depicted and how we think. 592 00:34:42,680 --> 00:34:44,560 Speaker 2: About what we. 593 00:34:45,920 --> 00:34:50,120 Speaker 3: Expose children to today in public education. 594 00:34:50,560 --> 00:34:55,080 Speaker 1: It is, But I seriously, listeners, go search out this art. 595 00:34:56,640 --> 00:35:00,759 Speaker 1: It's really really fantastic, and I there's a lot of 596 00:35:00,760 --> 00:35:04,520 Speaker 1: like commonalities, but there's also a lot of differences in them. 597 00:35:04,600 --> 00:35:06,359 Speaker 1: So I love that she had that range but also 598 00:35:06,440 --> 00:35:08,399 Speaker 1: kind of a unique style that you could be like, oh, 599 00:35:08,520 --> 00:35:14,480 Speaker 1: it's probably her, so go check that out. And it's 600 00:35:14,520 --> 00:35:17,640 Speaker 1: always Eve's thank you so much for being here. If 601 00:35:17,640 --> 00:35:19,040 Speaker 1: you want to start an art podcast? 602 00:35:19,200 --> 00:35:21,000 Speaker 2: Were there or ready? 603 00:35:21,360 --> 00:35:21,480 Speaker 1: Now? 604 00:35:24,440 --> 00:35:26,520 Speaker 2: Okay, we don't want to put any more work on you, 605 00:35:26,560 --> 00:35:29,279 Speaker 2: but just say it. Just you know, if you did, yeah, 606 00:35:29,320 --> 00:35:31,959 Speaker 2: we'd be there. But yes, thank you so much, Eaves. 607 00:35:32,080 --> 00:35:34,600 Speaker 2: Where can the good listeners find you? Thank you? 608 00:35:35,320 --> 00:35:39,320 Speaker 3: And the listeners can find me on Instagram at not Apologizing, 609 00:35:39,800 --> 00:35:43,920 Speaker 3: on Twitter at Eve's Jeffcoat, or on my website www 610 00:35:44,520 --> 00:35:47,080 Speaker 3: dot Evesjeffcoat dot com and you can find all of 611 00:35:47,120 --> 00:35:49,640 Speaker 3: the other things from there and many other episodes of 612 00:35:49,719 --> 00:35:54,200 Speaker 3: Female First here on Sminty about other people in history 613 00:35:54,360 --> 00:35:57,640 Speaker 3: who did amazing things, flowed the status quo in a 614 00:35:57,680 --> 00:36:00,520 Speaker 3: lot of different ways, and we're there first in their 615 00:36:01,160 --> 00:36:02,080 Speaker 3: respective feels. 616 00:36:02,200 --> 00:36:06,080 Speaker 1: Yes, yes, we always. We love the series. We're so 617 00:36:06,160 --> 00:36:08,960 Speaker 1: glad you come on and do it. So if you've 618 00:36:09,000 --> 00:36:11,480 Speaker 1: somehow missed that listener, just go back and listen to 619 00:36:11,520 --> 00:36:15,120 Speaker 1: those episodes and go find Eves. If you would like 620 00:36:15,160 --> 00:36:17,200 Speaker 1: to find us, you can. You can email us a 621 00:36:17,200 --> 00:36:18,960 Speaker 1: stuff media mom Stuff at iHeartMedia dot com. 622 00:36:19,040 --> 00:36:20,120 Speaker 2: You can find us on Twitter at. 623 00:36:20,000 --> 00:36:22,640 Speaker 1: Mom Stuff podcast, our, Instagram and TikTok at stuff I've 624 00:36:22,640 --> 00:36:24,680 Speaker 1: Never Told You. You can also find us on YouTube and 625 00:36:24,719 --> 00:36:26,000 Speaker 1: we have a book. You can pre order it at 626 00:36:26,000 --> 00:36:28,720 Speaker 1: stuff you Should Read books dot com. Thanks as always 627 00:36:28,719 --> 00:36:31,920 Speaker 1: to our super producer Christina, our executive producer Maya, and 628 00:36:32,000 --> 00:36:32,920 Speaker 1: our contributor Joey. 629 00:36:33,040 --> 00:36:35,440 Speaker 2: Thank you and thanks to you for listening Stuff I 630 00:36:35,480 --> 00:36:36,759 Speaker 2: Never Told You. Introduction of iHeartRadio. 631 00:36:36,800 --> 00:36:38,279 Speaker 1: For more podcasts on my heart Radio, you can check 632 00:36:38,280 --> 00:36:40,200 Speaker 1: out the iHeartRadio appp a podcast wherever you listen to 633 00:36:40,239 --> 00:36:40,960 Speaker 1: your favorite shows.