Perhaps you have noticed, or not, that my name on the masthead of this blog has changed to Schafer. I thought I might offer an explanation. If you don’t care, just stop reading, delete this post and Move On. This is not about Oaxaca or Mexico or my recent trip to Spain. This is personal. In my creative writing and the work I have published on Minerva Rising, I have learned to write from the depths.
When I married in 2002, I took my husband’s surname. This is something neither of his first two wives had done. In doing so, I believed it would honor him and signal a strong commitment to this union.
Many years earlier, I had taken another man’s name when it was conventional custom and after the dissolving of this first marriage, I kept that name for a very long time because it also belonged to my son.
The man I married in 2002 became my recent ex-husband. He was Husband Number Two. I was Wife Number Three. Soon, friends told me, there will be a Wife Number Four. I realized it is time for me to put that identity completely behind. Some said, it’s a nice name, you can keep it. But names are symbolic of something else.
As a woman, I have always carried a man’s name, starting with the name of my father. I never liked my father’s name although I loved him very much. It is awkward to say, lengthy, unusual and must be spelled at each introduction. For me, it never fit.
My mother’s family name has resonance. I experimented with spelling (just like they did at Ellis Island) first selecting Shafer. I tacked it on to the married name to ease into a public transition to change. How long does it take? Maybe a year? Do readers even notice? I wasn’t sure. Now, easing into another name is not an option.
What I also know is that I also want to reclaim my identity through my last name. The spelling Schafer makes sense. It means scribe, an ancient Jewish record-keeper, then later a theologian or jurist. I am a contemporary record-keeper of Oaxaca art, culture, history, etc. I document what I experience through photographs and words.
I researched various spellings of my mother’s family name that has both German and Ashkenazi Jewish origins, and made a choice. Please join me in celebration of Norma Schafer and new beginnings.
Please let me know if you have any questions: norma.schafer@icloud.com
Today, I am leaving North Carolina, returning to Northern California to visit my 99-year old mother and sister, and then will get back to Mexico in early June. It’s been quite a journey.
Women’s Creative Writing and Yoga Retreat: Lifting Your Creative Voice 2016
Another Promised Land: Anita Brenner’s Mexico at the Skirball Center, Los Angeles
Once the dust of Mexico settles on your heart,
you will have no rest in any other land.
On September 13, I joined Patrice Wynne and Gloria Orenstein at the Skirball Cultural Center in West Los Angeles for a curator-led preview tour of this landmark exhibition, Another Promised Land: Anita Brenner’s Mexico.
The exhibition runs through February 25, 2018.
The term promised land is rooted in a vision of freedom and liberation. Emotionally, it has meaning for peoples seeking release from oppression who want a secure life where one can become fully realized without restraint. Jewish identity is intertwined with Israel as the promised land. African-American slaves looked to the north as a promised land. Oppressed peoples throughout the world continue to seek asylum in America, their hope of the promised land where opportunity and justice prevail. (We must be vigilant.)
Tina Modotti captures Anita Brenner in black and white
Anita Brenner (1905-1974), a Mexican-born Jewish writer who lived and worked during the Mexican Renaissance, saw the country adopted by her Latvian parents as a promised land for intellectual and artistic expression. Her own experience with prejudice and discrimination helped give her voice to bridge understanding.
Mexico was a haven for immigrants escaping Europe throughout the 19th and 20th centuries. Even today, Mexico has a welcoming immigration policy. Her people are a blend of indigenous, Spanish, African, Filipino, Chinese, German, and French — representing waves of conquest and immigration. Jews sought haven in Mexico when the gates were closed to the United States of America. (Thank you, Mexico!)
Diego Rivera, Dance in Tehuantepec, watercolor
Brenner was an integral part of the circle of Mexican modernists in the 1920s and played an important role in promoting and translating Mexican art, culture, and history for audiences in the U.S.
Jean Charlot, The Massacre in the Main Temple, fresco, Collegio San Ildefonso
Born during the turmoil of the Mexican Revolution (1910-1920), Brenner was close to the leading intellectuals and artists active in Mexico at the time. These are names we know well: painters José Clemente Orozco, Frida Kahlo, Diego Rivera, David Alfaro Siqueiros, Jean Charlot, and photographer Tina Modotti. There were others whose name we do not widely know in the USA, including Rivera’s second wife, Guadalupe Marin, Frances Toor, Nahui Olin, Luz Jimenez and Concha Michel.
Abraham Angel, La India
Art historian Karen Cordero says they would meet at Sanborn’s Casa de los Azulejos to talk about politics, social injustices, women’s rights, feminism, and other issues.
The exhibition introduces us to Brenner as an important figure who has been heretofore obscured by the more illustrious in her circle. An influential and prolific writer on Mexican culture, Brenner is best known for her book Idols Behind Altars: Modern Mexican Art and Its Cultural Roots (1929).
Cover of Mexico this month, February 1956
Her work is rooted in the shaping of post-Revolution Mexico, when a new identity for a new nation needed to be reassessed to reflect the persistent indigenous culture behind the Spanish conquest. The Revolution brought with it the need to create political, social and cultural change and artists turned to folk art as inspiration to re-imagine past with future.
Mathias Goeritz, Satellite Tower. He was close to Luis Barragan, architect.
She was also instrumental in creating cultural tourism for Mexico — promoting cultural exploration as a vacation activity by publishing the cultural travel magazine, Mexico this month. We can consider her a pioneer in learning about the people who live where you visit.
The Skirball’s exhibition includes a narrative of Brenner’s life. It features pre-Columbian art, paintings, prints, photographs and drawings by Miguel Covarrubias, Jean Charlot, Edward Weston, Leonora Cunningham, Maximo Pacheco, Lola Cueto, Abraham Angel, plus those we are more familiar with: Kahlo, Rivera, Orozco.
Lithograph by Orozco
Charlot was a disciple of Rivera who contributed to the murals at the Secretariat de Publica Education (SEP). He was in love with Brenner; they could never reconcile religious differences and did not marry, though they remained lifelong friends.
Cultural map of Oaxaca, Mexico/this month
Another Promised Land: Anita Brenner’s Mexico is part of Pacific Standard Time: LA/LA, a far-reaching and ambitious exploration of Latin American and Latino art in dialogue with Los Angeles, taking place from September 2017 through January 2018 at more than sixty cultural institutions across Southern California. Pacific Standard Time is an initiative of the Getty.
Gloria Orenstein, Norma Schafer and Patrice Wynne at the exhibition
Footnote: Los Angeles County has the second largest Jewish population and the largest Latino population in the United States.
Thank you to the Skirball Cultural Center for background information and photographs.
Like this:
2 Comments
Posted in Cultural Commentary, Folk Art, Mexico, Travel & Tourism
Tagged Anita Brenner, art, exhibition, history, immigration, Jewish, Mexico, Pacific Standard Time: LA LA, painting, photography, Skirball Cultural Center