THE MEXICA JOURNEY...
A BEACON OF UNIDAD, RESISTENCIA AND HOPE
A BEACON OF UNIDAD, RESISTENCIA AND HOPE
Not long after I began working on the Common Threads Community Patterns project for Sound Transit, I was asked by the architects to find a pattern that might work as a screen for the large (15' x 20') louver vent on the north side of the elevator head house. I saw the opportunity to find a Latin American design that could honor El Centro de la Raza across the street. Among the research books in the Seattle Public Library I found a group of pre-Columbian Aztec motifs from pottery shards that had probably been stamped. While the source material was ceramic, it bears a remarkable similarity to woven designs from Mexico and other parts of the south western continent. The one selected by the architects and myself now graces the building as shown above.
I had also developed a small publication describing my proposed project and inviting the community to submit designs or requests for cultural groups to be included in the project. As I began to distribute this booklet, I realized that it was not enough to simply select an appropriate design for the louver screen; I wanted to dedicate this piece to El Centro de la Raza and ask that they consider naming it. I was familiar with El Centro, having been to several events and exhibits and met artists there, and in the spring of 2004 I arranged to meet with Roberto Maestas, the director and a founder of El Centro. When I arrived, Enrique Gonzales gave me a tour of the facility and shared the history and information about the programs that were housed there.
I will never forget the graciousness and warmth with which Roberto welcomed me into his office and how much this room spoke to the importance of culture in the mission of this remarkable organization. While I had known of Roberto for many years, especially from my work around Latin American issues in the 1980s, I realized he knew nothing about me. After I introducing my project, I was able to share some of my past that had led me to contact him. I told him how early experiences that I had had with Mexican people had changed my life and that my exploration of the place, its history and culture, had profoundly influenced my work. These experiences and the respect that I had for the struggles of Latin American people led me to select the Aztec design for the louver screen as a way to reach across Lander Street to El Centro, and to share my appreciation of Latino culture with the broader community. I then asked Roberto to consider naming this piece as a way of bringing this artwork back to its source. We would meet again over the coming years, and each time he would greet me as "mi amigo."
Early in 2009, Roberto invited me to make a formal presentation to the staff of El Centro. After his warm introduction, I presented the project along with the elaborate model that I had constructed. I shared my vision for the artwork in the plaza as a celebration of all cultures. I explained why I chose the pre-Columbian Aztec design to honor El Centro de la Raza and how I felt that the story of the beginning and development of El Centro is an inspiring one that expands the vision for community activism and service. And finally I asked that together they choose a name for this piece that would complete this circle and send a message out into the community. I was deeply moved by the warm reception that I received.
One month later I received an email with the following message.
Carl, Our Great Amigo,
We asked for input from our internal familia for this great honor in naming the art work.
We debated it passionately and have arrived at a beautiful consensus.
We are naming it the following.
THE MEXICA JOURNEY…
A BEACON OF UNIDAD, RESISTENCIA AND HOPE
We are confident that that is the way it will appear with all the lettering. We leave the actual engraving up to you (i.e font, size, etc.)
Gracias por el honor y Buena Suerte Siempre,
Roberto y El Centro de la Raza
I felt a great sense of completion to a process that had begun years before. I spoke with Roberto and Enrique about creating a special event to mark the naming of the artwork when the plaque was installed. Roberto spoke with delight of having live music, food and a great celebration.
The Beacon Hill station was the last station in system to be completed and it was still under construction with less than a month before the scheduled opening. I soon realized that this plaque and the paver motif key plaque would not be installed before the opening, but I was assured that in the coming months they would be. Unfortunately the months passed and still no plaque. I kept in touch with Enrique and Roberto and kept prodding Sound Transit, which it seemed had moved on with the expanding light rail system.
Then on September 22, 2010, I was shocked to hear that Roberto Maestas had passed away. I was deeply saddened to think that the celebration we had planned had not happened while he was alive. That week I attended the celebration of his life and was moved by the stories shared with the large audience. Afterwards at the crowded gathering at El Centro, I was able to speak briefly with Estela Ortega, Roberto's wife, and assure her that I still wanted to complete this plan. I now feel even more strongly that the plaque for this project needs to be completed with great respect for Roberto. I will continue to press Sound Transit to install the plaques so that the celebration can go ahead. And I will share the news of that here on this blog.
