{"id":55007,"date":"2017-06-30T23:52:00","date_gmt":"2017-07-01T03:41:00","guid":{"rendered":"http:\/\/hispanicprwire.com\/english-extended-anacostia-community-museum-exhibition-gatewaysportales-highlighted-at-2017-smithsonian-folklife-festival-program-now-underway-through-july-2-and-july-6-july-9\/"},"modified":"2017-06-30T23:54:01","modified_gmt":"2017-07-01T03:54:01","slug":"la-exposicion-del-anacostia-community-museum-gatewaysportales-es-destacada-en-el-programa-del-festival-folclorico-smithsonian-de-2017-ahora-en-curso-hasta-el-2-de-julio-y-del-6-de-julio-hasta-al","status":"publish","type":"post","link":"https:\/\/hispanicprwire.com\/en\/la-exposicion-del-anacostia-community-museum-gatewaysportales-es-destacada-en-el-programa-del-festival-folclorico-smithsonian-de-2017-ahora-en-curso-hasta-el-2-de-julio-y-del-6-de-julio-hasta-al\/","title":{"rendered":"Extended Anacostia Community Museum Exhibition &#8220;Gateways\/Portales&#8221; Highlighted at 2017 Smithsonian Folklife Festival Program Now Underway through July 2 and July 6-July 9"},"content":{"rendered":"<p><\/p>\n<style type=\"text\/css\"><![CDATA[\n\/* Style Definitions *\/\nspan.prnews_span\n{\nfont-size:8pt;\nfont-family:\"Arial\";\ncolor:black;\n}\na.prnews_a\n{\ncolor:blue;\n}\nli.prnews_li\n{\nfont-size:8pt;\nfont-family:\"Arial\";\ncolor:black;\n}\np.prnews_p\n{\nfont-size:0.62em;\nfont-family:\"Arial\";\ncolor:black;\nmargin:0in;\n}\n]]><\/style>\n<div class=\"xn-content\">\n<p><span class=\"xn-location\">WASHINGTON<\/span>, <span class=\"xn-chron\">June 30, 2017<\/span> \/PRNewswire-HISPANIC PR WIRE\/ &#8212;\u00a0What do <span class=\"xn-location\">Washington, D.C.<\/span>, <span class=\"xn-location\">Charlotte<\/span> and <span class=\"xn-location\">Raleigh-Durham, N.C.<\/span>, and <span class=\"xn-location\">Baltimore<\/span> all have in common? They are all urban areas, are all on the east coast of the United States\u2026 and all have experienced rapid growth in their Latinx populations, most with spurts beginning as far back as 1980s\u2014and with <span class=\"xn-location\">Washington<\/span> leading the way as far back as the 1950s. &#8220;Gateways\/Portales,&#8221;\u2014 the exhibition extended though <span class=\"xn-chron\">Jan. 7, 2018<\/span> at the Smithsonian&#8217;s Anacostia Community Museum that explores the triumphs and struggles of Latinx migrants and immigrants through the lenses of social justice, representation and celebration \u2014is also being highlighted at the 2017 Smithsonian Folklife Festival. The festival program <a target=\"_blank\" href=\"http:\/\/festival.si.edu\/2017\/on-the-move\/smithsonian\" rel=\"nofollow\">&#8220;On The Move&#8221;<\/a> showcases immigration, migration and cultural identity stories; &#8220;Gateways&#8221; is among four related Smithsonian exhibitions in museums or online being recognized during the National Mall event now underway through <span class=\"xn-chron\">July 4<\/span> and <span class=\"xn-chron\">July 6-9<\/span>. <\/p>\n<p>Experience the interactive Multichannel News Release here: <a target=\"_blank\" href=\"http:\/\/www.multivu.com\/players\/English\/8009251-smithsonian-anacostia-community-museum-gateways-portales-latinx-america\/\" rel=\"nofollow\">http:\/\/www.multivu.com\/players\/English\/8009251-smithsonian-anacostia-community-museum-gateways-portales-latinx-america\/<\/a> <\/p>\n<p>The term &#8220;gateways&#8221; is a metaphor for points of access into community life, and gateways are thematically incorporated in the design of the Anacostia Community Museum issue-based exhibition. Presented bilingually, the exhibition, curated by Latinx studies curator <span class=\"xn-person\">Ariana Curtis<\/span>, also introduces the non-gender defining term &#8220;Latinx,&#8221; which is rapidly gaining usage in popular culture and replaces Latino and Latina in most of the English presentation.<\/p>\n<p>&#8220;As we seek to represent diverse facets of urban life, I welcome &#8216;Gateways&#8217; and the timely subjects it presents,&#8221; said Lori Yarrish, acting director of the museum. &#8220;The powerful themes the exhibition addresses resonate with urban communities across the nation and is another example of our pioneering approach to museum work that we celebrate as we move on <span class=\"xn-chron\">September 15<\/span> into our 50th anniversary.&#8221;<\/p>\n<p>&#8220;The largest non-white group in the U.S., Latinxs have accounted for half of the nation&#8217;s growth between 2000 and 2012,&#8221; Curtis said. &#8220;In the city pairs on which &#8216;Gateways&#8217; focuses, migration from other states, immigration and U.S. births have caused the tremendous contemporary increase in the Latinx population.&#8221;<\/p>\n<p>Over that period, black-majority cities <span class=\"xn-location\">Washington<\/span> and <span class=\"xn-location\">Baltimore<\/span> experienced Latinx population growth even though their general population declined, and <span class=\"xn-location\">Raleigh-Durham<\/span> and <span class=\"xn-location\">Charlotte<\/span> experienced hyper-growth with Latinx increases of over 300 percent.<\/p>\n<p>Accessed through massive gateways, the exhibition features three major sections looking at life in the U.S. for Latinxs: <\/p>\n<p>The opening section on social justice and civil rights looks at a variety of issues beginning with the complexities of how Latinxs self-identify and are identified institutionally, racial profiling and undocumented status, sanctuary cities and the tenuous relationships with law enforcement. Through art, interviews, images, video and objects of personal value, the stories of Latinxs&#8217; struggles in new and sometimes unwelcoming communities in the four cities are told alongside examples of successful professional, entrepreneurial and homeownership pursuits. <\/p>\n<p>&#8220;Despite the threat of deportation, some undocumented Latinx youth, as noted in the exhibition, hold higher education aspirations and accomplish goals typical of all immigrant groups; they are activists for immigrant and education reform,&#8221; said Curtis. &#8220;&#8216;Gateways&#8217; also documents the creation of Latinx-centered community institutions and service providers in the four cities often with the help of established African American business and individuals to address critical needs like banking and credit for workers who often carry large amounts of cash.&#8221;<\/p>\n<p>Awareness of the power of political representation and recognition is evident in the second gateway section, which includes artifacts from the campaigns of the first Latinx-elected officials for a variety of city, county, state and federal offices along with notices promoting federally sanctioned Latinx heritage observances. Also highlighted is the establishment of tiendas (shops) and later Latinx-owned supermarket chains providing Latin American food and money-sending services.<\/p>\n<p>Latinxs&#8217; efforts to create communities can be seen in the establishment of churches, which also serve as sanctuaries; Spanish-language radio, newspaper and TV media; and hair salons and other basic services. Powerful Latinx creative expression, as seen throughout the exhibition, takes many forms; the mural and public art tradition in <span class=\"xn-location\">Baltimore<\/span>, performing and visual arts in the District and storytelling in <span class=\"xn-location\">North Carolina<\/span> are among the creative outlets Latinxs have explored in their new homes.<\/p>\n<p>The third section focuses on the role festivals play as a source of cultural change, empowerment and as opportunities for remembrance of home through food, entertainment and education for Latinxs. As public displays of Latinx unity, diversity and visibility, the festivals featured in &#8220;Gateways&#8221; were born of activism and serve to affirm the Latinx presence in the communities in which they are held. <\/p>\n<p>Offering a reflective moment in &#8220;Gateways,&#8221; the Kinard Gallery features images and the personal audio stories of 20 Latinxs from the four cities as they consider their journey to their urban homes. <\/p>\n<p>Featuring more than 80 artifacts, &#8220;Gateways&#8221; includes the following:<\/p>\n<p><b>Boots<\/b> worn by Cornileo Campos as a farmworker when he arrived from <span class=\"xn-location\">Mexico<\/span> to <span class=\"xn-location\">North Carolina<\/span> <\/p>\n<p>&#8220;<b>Hispanics, the New Italians,&#8221; 2015<\/b>\u2014Painting, an exhibition signature image, by <span class=\"xn-person\">Rosalia Torres-Weiner<\/span> of the iconic Statue of Liberty stylized as a Latinx <\/p>\n<p><b>Cap and gowns<\/b> worn by undocumented student graduates, Mexican-born <span class=\"xn-person\">Alma Islas<\/span> (<span class=\"xn-org\">UNC Chapel Hill<\/span>) and Peruvian-born Mirella Salda\u00f1a Moreno (<span class=\"xn-org\">George Mason University<\/span>, Va.) <\/p>\n<p><b>Cast-iron skillet, three biscuit cutters, tortilla press and cookbook, <\/b><i><b>The New Southern-Latino Table<\/b><\/i>\u2014Sandra A. Guti\u00e9rrez&#8217;s cooking tools and cookbook with recipes featuring Southern-Latino culinary fusion <\/p>\n<p>&#8220;<b>El Otro Rostro del Immigrante (The Other Face of an Immigrant),&#8221; 2010<\/b>\u2014Artist Nicol\u00e1s Shi&#8217;s self-portrait collage of newspaper headlines and articles celebrating the artist&#8217;s accomplishments in contrast to negative immigrant images <\/p>\n<p>&#8220;<b>Celia con Rolos&#8221; 2015<\/b>\u2014Painting by <span class=\"xn-location\">New York City<\/span> artist <span class=\"xn-person\">M. Tony Peralta<\/span> of famed Cuban\u2013born music icon <span class=\"xn-person\">Celia Cruz<\/span> depicted with &#8220;rolos,&#8221; large-size hair rollers\u2013a staple of Dominican salons <\/p>\n<p>&#8220;Gateways&#8221; is complemented by two smaller Latinx exhibitions. On view indefinitely, &#8220;Bridging the Americas: Community and Belonging From Panama to <span class=\"xn-location\">Washington, D.C.<\/span>&#8221; explores the personal experiences of Panamanians and Zonians living in and between the nation&#8217;s capital area and <span class=\"xn-location\">Panama<\/span>. CLOSING <span class=\"xn-chron\">July 9<\/span> is &#8220;The Backyard of <span class=\"xn-person\">Derek Webster&#8217;s<\/span> Imagination&#8221; which features a selection of the colorful sculptures created by the self\u2013taught, Chicago\u2013settled, Honduran-born artist from the museum&#8217;s permanent collection.<\/p>\n<p>&#8220;Gateways&#8221; received federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center. Related programs are funded in part by the D.C. Commission on the Arts &amp; Humanities, an agency supported in part by the National Endowment for the Arts. <\/p>\n<p>Established in 1967, the Smithsonian&#8217;s Anacostia Community Museum focuses on examining the impact of contemporary social issues on urban communities. The museum is located at 1901 Fort Place SE, <span class=\"xn-location\">Washington, DC<\/span>. For more information, call (202) 633-4820; for tours, call (202) 633-4844. Website: <a target=\"_blank\" href=\"http:\/\/anacostia.si.edu\/\" rel=\"nofollow\">anacostia.si.edu<\/a>.<\/p>\n<p>Media website:<br \/><a target=\"_blank\" href=\"http:\/\/anacostia.si.edu\/\" rel=\"nofollow\">http:\/\/anacostia.si.edu<\/a>;\u00a0<a target=\"_blank\" href=\"http:\/\/newsdesk.si.edu\/\" rel=\"nofollow\">http:\/\/newsdesk.si.edu<\/a>\u00a0<\/p>\n<p>SOURCE  Smithsonian&#8217;s Anacostia Community Museum<\/p>\n<\/div>\n<p> <\/p>","protected":false},"excerpt":{"rendered":"<div class=\"xn-content\">\n<p><span class=\"xn-location\">WASHINGTON<\/span>, <span class=\"xn-chron\">June 30, 2017<\/span> \/PRNewswire-HISPANIC PR WIRE\/ &#8212;\u00a0What do <span class=\"xn-location\">Washington, D.C.<\/span>, <span class=\"xn-location\">Charlotte<\/span> and <span class=\"xn-location\">Raleigh-Durham, N.C.<\/span>, and <span class=\"xn-location\">Baltimore<\/span> all have in common? They are all urban areas, are all on the east coast of the United States\u2026 and all have experienced rapid growth in their Latinx populations, most with spurts beginning as far back as 1980s\u2014and with &lt;span&#8230;<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[6],"tags":[],"class_list":["post-55007","post","type-post","status-publish","format-standard","hentry","category-arte-y-cultura"],"acf":[],"_links":{"self":[{"href":"https:\/\/hispanicprwire.com\/en\/wp-json\/wp\/v2\/posts\/55007","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/hispanicprwire.com\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/hispanicprwire.com\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/hispanicprwire.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/hispanicprwire.com\/en\/wp-json\/wp\/v2\/comments?post=55007"}],"version-history":[{"count":0,"href":"https:\/\/hispanicprwire.com\/en\/wp-json\/wp\/v2\/posts\/55007\/revisions"}],"wp:attachment":[{"href":"https:\/\/hispanicprwire.com\/en\/wp-json\/wp\/v2\/media?parent=55007"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/hispanicprwire.com\/en\/wp-json\/wp\/v2\/categories?post=55007"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/hispanicprwire.com\/en\/wp-json\/wp\/v2\/tags?post=55007"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}