Dismantling Racialized Representations: Making Connections in the Global South

Dismantling Racialized Media Representations: Making Global South Connections
Online Video Screening

Curated by Raul Moarquech Ferrera-Balanquet

Our lives are shaped by the experiences of our ancestors, as well as the social realities we have confronted since birth. Unfortunately for many of us, the Eurocentric patriarchal modern colonial system, the colonial matrix controlled by racist individuals and institutions, obscures our understanding of the social struggles of our ancestors, and the intangible connections we share with the ancestral historical memories forming our personalities, social relations, and creative and critical actions.

This curatorial video project aims to contextualize the creative, critical and historical struggles media artists from diverse ethnic communities have experienced during their fights for individual and communal social and civil rights. Establishing conversation with the critical positions established by these groups of media artists, the curatorial project offers an opportunity to examine our placement in relation to the present social political reality of the United States. As a new presidency instigated by the colonial matrix intents to re-installed an outdated racist, sexist, homophobic, and oppressive government, we engage into a variety of social critical actions aiming to continue the dismantling of the eurocentric patriarchal colonial matrix.

Please watch the videos, and RSVP below to join me for a critical discussion at 5 p.m. EST on Google Hangout.

Video Playlist


I am Joaquin (1969)
Directed by Luis Valdez.
A 20-minute short film based on an epic poem published by Rodolfo “Corky” Gonzales in 1967. Gonzales’ poem weaves together the long tangled roots of his Mexican, Spanish, Indian and American parentage and a past mythology of pre-Columbian cultures. The film is important to the history and culture of Chicanos in America, spotlighting the challenges they have endured because of discrimination.


The Autobiography of Miss Jane Pittman (1974)
Directed by John Korty
Story of a black woman in the South who was born into slavery in the 1850s and lives to become a part of the civil rights movement in the 1960s.


Forbidden Fruit Fight Back! (1992)
Produced by Deep Dish TV
Producer: Valda Lewis
With joy and collective pride, lesbians and gay men display unity and confidence as they confront the censorship of the fact of their lives. From the faces convulsed in hatred at Mayor Dinkins and the gay Irish at St. Patrick’s Day in New York City 1991, this video chronicles a rising wave of victories with ACT UP, gay weddings and new civil rights statues.

Forbidden Fruit Fight Back! from Deep Dish TV on Vimeo.


That’s my Face (2001)
Directed by Thomas Allen Harris
A mythopoetic feast of self-discovery that crosses three continents and three generations, That’s My Face traces the filmmaker’s journey to Salvador Da Bahia, the African heart and soul of Brazil, as he seeks the identity of the spirits who haunt his dreams. Paralleling the journey his mother made twenty years earlier to Tanzania in search of a mythic motherland, the film incorporates an innovative sound design that uses rap and hip-hop strategies of multi-voice sampling.


Resistencia Latinoamericana (1992)
Deep Dish TV,
Coordinator Producer: Raul Ferrera-Balanquet
A comprehensive critical analysis and re-evaluation of Latin American history by Latin Americans is the focus of this compilation program. The issues addressed here include the present historical situation of Latin America, the arrival and imposition of white European male power structures, and popular resistance against the many forms of colonization.


The Couple in the Cage: Guatinaui Odyssey (1993)
Directed by Coco Fusco and Paula Heredia
Performance artists Guillermo Gómez-Peña and Coco Fusco travel and appear before the public in four different countries as two “Guatinaui Indians,” members of a fictional “newly discovered” tribe who had agreed to be displayed at malls and museums around the world, after the manner of human exhibition in the 19th and early 20th centuries. These performances are intercut with archival footage of humans displayed in cages as freaks and curiosities. Conceived as a “satirical comment on the past,” the performances evoke various responses, including huge numbers of people who are convinced the characters are real and do not find the idea of “natives” locked in a cage objectionable.

Documentary-The Couple in the Cage from Paula Heredia on Vimeo.


Badassss Cinema: A Bold Look at 70s Blaxploitation Cinema (2002)
Directed by Isaac Julien
Filmmaker Isaac Julien uses film clips and interviews to illustrate the history of the so-called “blaxploitation” genre and look at blaxploitation films, as well as the huge cult following that has built up around them.


Ethnic Notions (1987)
Directed by Marlon Riggs
This documentary that takes viewers on a disturbing voyage through American history, tracing for the first time the deep-rooted stereotypes which have fueled anti-black prejudice. Through these images we can begin to understand the evolution of racial consciousness in America. These dehumanizing caricatures permeated popular culture from the 1820s to the Civil Rights period and implanted themselves deep in the American psyche.


Manufacturing the Enemy (1990)
Produced by Deep Dish TV
Interviews with Arab Americans victimized by violence and racism are compared with the experiences of Japanese Americans during and after the Second World War. Interviews with some of the many Arab-Americans from students to dish-washers, who have been questioned by the FBI. Counselors from the Center for Constitutional Rights discuss how civil rights can be protected.

Manufacturing the Enemy from Deep Dish TV on Vimeo.


The Truth about Afro Latino (2016)
Produced by Truth and Edutainment
Identity for U.S. Latinxs is multidimensional and multifaceted. For example, many Latinxs tie their identity to their ancestral countries of origin – Mexico, Cuba, Peru or the Dominican Republic. They may also look to their indigenous roots. Among the many ways Latinxs see their identity is their racial background.

Part I

Part II



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