Wednesday, December 2, 2009

Coatlaxopeuh AKA La Guadalupe


Reading Gerry's ardent piece about Pedro Pans and how we fall somewhere in the middle of the 9-to-5 vs. the happy-go-lucky roustabout bohemians who purport to be so above it all and live with no concern about tomorrow, I am finally compelled and driven to blog a bit. The Brooklyn & Boyle toil has consumed me, but it's work for and commitment to something I hope will be lasting. It is an idea and a presence that has allowed me to find a place and a sense of community. And it has been the culmination of work that began shortly after my own mother's death. I want to tell Mr. Meraz, a down-ass vato who really does get it and really does give a f#%*, that his mamita his here, in him and in all the small miracles that occur everyday on the block, on the curb, on the sidewalks in those lugares, the places where we dwell. At the A.R.T.E.S. meeting recently, Gerry spoke up and said what I know and feel. He spoke to the Chicano artists who still look down on the truest rasquache evolution and like to imagine an East Side with primrose flower gardens and some sort of 70s, pre-mexicanización idyl. He said he was grateful for the vendors with who make every street a tianguis out of necessity. My mom embraced new immigrants and spoke to them in exceedingly fine Spanish despite the fact that her great-great grandmother was born north of the Rio Grande. My father married a catracha (look it up, raza, or ask someone from centroamerica) but still complains about how the mojados are taking over. He speaks good Spanish but is more willing to put down paisas than he is to recognize the fact that his own children are fueling a retro-acculturation movement. Then you have the indigenazis, mixed blood mestizos who glamorize and romanticize an azteca past that they only know from one or two trips to el D.F., Chicano Studies introduction to our raices pre-colombinos and a movimiento that revolted against the imposition of a Western or European hegemony. Voila, presto. They are suddenly proud to wear the beads and the ayoyotes as an antidote to the racist system that has made being indio somehow inferior. They're the ones who put down Ché because he was an argentino of European descent. In Gerry's thought provoking post, he leaves out the queer and lesbian quotient and talks about Pedro Pans who feel they are beyond relationships with the opposite sex, but I would add that there are also Patrici@ Pans who seek release and an unburdening in a series of souless couplings, unhealthy relationships. I watched Spielberg's A.I.: Artificial Intelligence again last night and cried because the robot boy wanted so badly to be real and be held by his mother, wanted so much to hear her say that she loved him and wanted, finally, to know simply that he was every bit as human as she was. The Mexica-tihaui brothers all claim to honor the earth and our ancestors but I never see them cooking or cleaning at any ceremony or encuentro or blessing or drum circle. I was there when Maestro Andres Segura, un verdadero jefe de la danza, scolded a group of mostly male Mechistas once at a gathering near the border in South Texas, because they kept raising their fists and shouting "Mexica tihaui!" "No!" he told them, wagging his finger in reprimand. "No solo los Mexicas! Todos tihaui!" "All forward." Just because you lead a sweat lodge or can say "Aho, mitakweasin" after beating on a handheld drum does not mean that you have overcome our inherent tendencies to propagate and further an unjust gender-class system that relegates us to certain roles. The day I go to a pow-wow or a danza and see all the men cooking for the women and allowing them to eat first and, by the same token, see all the young people cooking for the elders and letting them eat first, then perhaps I will have a little more hope. Gerry is a gifted writer and a homeboy from the hood. Self-analysis and self critique are important. I just wish more of the compañeros would step up and do the same. It's one thing to invoke the animas and in the palabra apologize if any mistakes or errors were committed in the process, to say aloud and in public that we want to walk and heal in a good way, surrounded by beauty and light and love, but another thing entirely to live that with each other, to beg forgiveness and seek redemption for our human flaws face-to-face within our families and with our past loves, perhaps peel the papas for the papa con huevo tacos and bring flowers for a friend, humbles ourselves and say nothing when the palabra traverses the circulo. It's what I've tried to do with the revista, a space where we can speak and allow others to speak and let arte, al final, provide the truths we seek. It shouldn't have to take the loss of our mothers to help us understand, as men, that we would be nothing if not for a womb that cradled us and brought us to life. Think about it, ese. And give thanks, today and everyday. In being good to yourself, you honor her, and I'm saying this as much to myself, porque la sangre y las lágrimas escurren igual de las llagas ancestrales.

Wednesday, October 21, 2009

Muertos de la Guerra/War Dead at Brooklyn & Boyle


Hope everyone can stop by. I know there's an important fundraiser for Claudia Mercado and Maritza Alvarez featuring La Santa Cecilia, but it would be great if you could stop by Casa 0101 and support the filmmaker and then check out the Muertos de la Guerra/War Dead exhibition. Or even just attend one of the later screenings for small donation of $7. Mil gracias de antemano. Laura Varela is a long-time friend, a fellow danzante who did ceremonia with us on the frontera between Matamoros and Brownsville. She will be leading the construction of an ofrenda for veterans at Brooklyn & Boyle to compliment the powerful, striking and moving work already on the wall. We will screen her film (which won't air on PBS until next year) at 7 pm at Casa 0101 then open Galeria Brooklyn & Boyle for a reception to honor Los Muertos de la Guerra. We will screen the film again on Friday at 5:30 pm, on Saturday at 6 pm then again one last time on Sunday at 7 pm. Her film is truly inspiring and Día de Los Muertos is a significant part of her narrative based on Chicano artists who went to Vietnam and made it back alive but not without psychic wounds that they deal with in a Circulo de Hombres with prayer and drumming.




Monday, August 24, 2009

Moratorium Revisited


If you can imagine what it feels like to watch the legendary Willy Herrón install a monumental 7' x 10' painting on the wall at your own space, then you get a sense for how last month unfolded. If meeting Joan Jett was like being in the company of rock stardom, opening a show with impassioned political work spanning three generations of Chicano and Mexicano artists that includes Herron's Munch-worthy painting of a tormented figure lifted from a photo of the actual Chicano Moratorium and celebrating my birthday with him and a slew of the city's best poets and art activists just a few days later was been like finding myself at home in a majestic galaxy that outshines Eta Carinae, long a contender for the Milkway's brightest sun. At this juncture, it is appropriate to credit Pete Galindo at the Federal Art Project, who debut the Herrón piece earlier this summer at a retrospective for the artist.

The opening of the "Chican@ Resistance & Revolution" exhibition was a powerful reminder of all that movimiento art and activism stood for and should continue to stand for. Maritza Alvarez, 13 Visions Productions cinematographer/photographer as well as member of the Mujerez de Maiz collective, stole the show for me with poetic black-and-white portraits depicting indigenous women, but references to the MacArthur Park melee where police used undue force on people in a stand-out painting by Wenceslao Quiroz harkened back to the 1970 and 1971 clashes between peaceful protesters and law enforcement agents and drew uncanny parallels..

In the process, we managed to whip out another issue of the paper with John Carlos de Luna's monochromatic image of Rubén Salazar on the cover. So the sharpest (and meatiest according to Random Hero) issue to date is currently filtering out into the East Side environs. The twin wedding day stories by Brandy Maya Healy Maramba and bass player Joey Maramba made the wait worthwhile. We closed the show on the Moratorium anniversary and were honored to have Carlos Montes and Elena Dominguez, both original LA-area Brown Berets, in the audience, after which Galería Brooklyn & Boyle was host to the filming of a new video for retro-cabaret, border-straddling lounge act Santos de Los Angeles. We were almost in overdrive at that point, but I still managed to slip into the Federal Art Project gallery for "Burn," a show of hauntingly sad, but still very disturbing images by Vincent Valdez, a young brother who wields a Vermeer-meets-Crumb paintbrush with deadly force. Valdez is, like me, a Tex-Mexile transplant who is just at home on LA's East Side as he is at San Anto's quintessential Bar America, the gateway to that city's South Side. Pete Galindo is on the leading edge of the burgeoning downtown LA art scene and a former SPARC staffer, so he knows Chicano art better than most. The show is the perfect allegory for the hottest side of the summer and the incendiary mountains that surrounded us with plumes of thick, black smoke for weeks as a result.

About our current exhibition, "Neo-Indigenismo," I can only say you don't know what you're missing. Curated in conjunction with the CASA 0101 production of Thy Kingdom Come, an ambitious new play set during the conquista, the show features new work by Aztlan Underground's Joe "Peps" Galarza, a striking Zapata portrait by John Carlos de Luna in his inimitable style, and of course, a piece titled "Martian Nopal" by maestro Sergio Hernández, who while at Con Safos magazine in the early '70s, published and illustrated raúlrsalinas' epic paean "Un Trip Through the Mind Jail," this while the vato everyone now calls the original Xicanindio poet was still doing prison time. I would be remiss of I didn't mention Arturo Urista, who has come out of a hiding to support Brooklyn & Boyle by showing his newest and most exciting work with us. It's also important to mention work by Francisco T. Norazagaray, Dolores González Haro, Sonji, Raul González from Mictlan Murals and his camarada Ricardo Estrada, the latter two artists being gifted neighborhood cats who believing in taking art to the streets and the people. And, of course, Maritza Alvarez, whose photos were so good, I had to show two of them again.

Tonight, we premier a new music video featuring bandleader leader Big Joe Hurt, directed by Victor Parra, yet another Tex-Mexile who seems more Angelino than otherwise. Come see the play at CASA 0101 and stay for the free live music and video presentation at Brooklyn & Boyle! (Image Above: "Burn" by Vincent Valdez)

Friday, August 7, 2009

La Santa Cecilia & Joan Jett

All in one night. That's right. At the risk of sounding ridiculously cliché, it doesn't get any better. Trip out on this... we start with a slow pan on the surprisingly well-attended Friday night opening for our 1st Annual Hot Summer Art Extravaganza at Brooklyn & Boyle where even Adrian Rivas of Gallery 727 finally made good on his threat to come visit. He managed to bring along Carolina Caycedo, the conceptual artist de la isla del encanto--who conducted the monumental barter art installation and happening at his place (which I kick myself for having missed). Adrian and Caro joined the cuates, Ernesto and Eduardo Espinoza who jointly head up the East L.A. Cine Sin Fin Chican@ Film Festival, and Conchita de Sousa and Fernando Cruz from Casa de Sousa as the late-comers who left a glowing energy lingering in their wake long after we locked the doors at nearly midnight. I was particularly proud to exhibit a piece by the ladies from Mi Vida. The corazón de papel maché over a beautiful serape background is a steal at $75 but I'm making it $65, so I can buy it for myself.

Anybueys, we all hung out at East Side Luv and helped Danell celebrate her cumple in style. We also met the Colombian Napolean Dynamite. No lie. He had brown hair instead of red, was a foot shorter, but had the glasses AND the dance moves. Noelle, it turns out (sshhh, don't say anything), has a book project she's working on, and I'm utterly intrigued at the idea. Closed the joint down and I turned into the proverbial pumpkin. Had to save some steam for Cal Plaza where I trundled along to with writer and former interim Self Help Director Rose Ramírez as well the baddest, toughest, coolest gallery and magazine collaborator/crimie (crime partner in the parlance of my lil' banger foo's from Eastlake) in town, Christy Ramírez. At Cal Plaza, I did the hot-foot for our usual camp-site with Fabiola Torres, Reina Prado, and my life-long cuate-carnal Francisco Hernández, AKA Smokin' Mirrors man-about-town. Francisco, who's always busy on a film or a tour with any number of biz heavies, cuts me off near the facilities after a glittering set by La Santa Cecilia, a band fronted by Marisoul Hernández, who must have pipes made of platinum because her voice is a shimmering echo of love and heartache and, yes, soul. Think Mercedes Sosa and Astrid Hadad and Lila Downs all rolled into one sweet melody over tango and cumbia and too many other post-millenial LA hybrid sounds to list.

We were about forty minutes into the Mentiritas set. Wil-Dog was going full-tilt and CAVA (Cavaliscious when she lends her vocals to the atomic rancholo party band project) had already been escorted in on a litter fit for a queen after which she promptly dismissed her subjects with a haughty wave. "Let's go the wrap party for THE RUNAWAYS," Francisco says. "Where?" I ask. "El Cid, open bar and a spread. I have to say high to Joan Jett," he explains almost nonchalantly, like no big deal. Of course my jaw drops. He also mentions the need to drop by the Los Angeles Theater Center for a party with Very Be Careful, but I'm already walking alongside him headed to the car. El Cid is hopping with the cast and crew. We catch Ms. Jett on her way out. She's on a flight to a couple of stadium shows in Japan, no surprise. I'm too dumbstruck to tell her she was my first and only
vinyl record crush. Period. She looks exactly the same, hasn't changed. All cut, black-and-white Chucks, eye-liner curled up slightly at the ends, spiked bangs hanging low over her forehead. Awww, man! And I'm speechless... something which almost never happens. I was "scirrred" of rock royalty for the first time in my life.

After that, we cruise downtown and it was all incredibly cool. Said hi teatrero maestro José Luís Valenzuela. When we finally rolled into Trópico de Nopal for a last call at the "official" Mentiritas after-party, I couldn't have been happier. And that sums up another unexpected evening in Los. Sometimes it makes no sense to make plans... so that said, I've spent the week in delerium. Played hooky on Monday and went for a swim. Watched the goats on Tuesday at Farmlab and here we are again, Friday, juggling a blog, the chivos, a sale of a two-piece work by Steven Amado (Chatismo), the beginnings of a poem  that I will read tomorrow at Self Help Graphics for the "16 years later, Femicides in Ciudad Juarez" event being organized by Rigo Maldonado and Victoria Delgadillo. Please come show your support for an important issue in our community. Todos somos las víctimas de los femicidios en Juaritos. The situation there has not changed.

Monday, July 27, 2009

Brooklyn & Boyle... A State of Mayan

If the ever-so-kind and generous Kevin Roderick over at LA Observed has followed the progress of Brooklyn & Boyle, I think I can ascribe it to a parallel sense of optimism and a general commitment to media both in and out of our respective communities. Roderick, an amazing journalist and scholar of everything LA, is a model and an anti-model simultaneously, and there's a part of me that would like to think he's genuinely pleased with me and the David-and-Goliath allegories inherent in what we're trying to do. Lil' bit upstart mag on paper, no less and without a website tilting at windmills, while the big time daily paper dwindles and founders. While the legion-like online community that assembles at Roderick's site daily is scattered nationwide and formally entrenched in all media matters having to do with LA (an unheralded feat he is to be commended for), over on this end we’re just as excited about reaching those with maybe less access to the web. I’m talking Metro riders who sit in front of the space where the magazine is assembled (also called Brooklyn & Boyle, BTW) every morning to catch a city bus to work. I’m talking Metro commuters who bus it to Union station from City Terrace and Red Line it to Hollywood where they staff restaurants and offices and medical centers. These are the readers we look for, the ones we want, and we’re thrilled at the possibility that the Gold Line will make transit for them more fluid, giving them a few extra minutes to read the latest issue and still get them to where they need to be more quickly. Though I'm not ruling out the possibility that we might eventually have an online presence, I'm pretty psyched at simply being out on paper with ink that stains your fingertips and a broad range of writing.

So, here we are feeling both goofy and giddy, at some kind of a midway point, on our sixth and—I dare say--finest issue yet, a newsprint tabloid created in the spirit of community. Organically, B & B has evolved into just the kind of locally-based arts journal I’ve imagined for nearly 10 years, a neighborhood voice which looks forward and inward and outward, all at the same time, while spotlighting the very real arts and culture treasure trove to be found on this side of the river. I find it hard not regard the project as the child I never had, a small saludo content to circulate in hand-to-hand exchanges and at bus stops throughout the still largely Latino neighborhoods it hopes to cover and serve as adroitly and honestly as possible.

Above all, it is an expression of gratitude, a thank you to la ciudad de Los Angeles, the world-class pueblo that took me in as a child and then again as a grown up. It is, for me, akin to that mythical place of herons, a homeland that continues to open magical doorways into a multi-layered, global mystery, a world where hipsters and Southsider cholos and norteño cowboys with glittering accordions slung over their backs rub shoulders with each other on a daily basis. A place where the fantastic media convergence that is LA Observed can nurture and root for a start up newsprint platform that hopes with plucky chutzpah that it will see another month and another edition.

Being indignant about gentrification and the hipsterization of our barrios is odds, perhaps, with a need to create a tentative peace and a lasting harmony, but it is a worthy exercise. It is a conversation that is far from over even if the progressive, liberal, tattooed and pierced peaceniks are tired of hearing it. Even though I’m no one to tell the new neighbors flooding in that they’re not wanted, I do feel a tinge of dissatisfaction when I see a transplant from outside of LA settling in Los Feliz then launching a website called Eastside Living Los Angeles, to cover the “fabled Eastside.” Sometimes, the hippest and coolest folks in the ‘hood are the ones with third-generation ties to the sacred lands where our ancestors grew corn and squash for centuries before the hemisphere was colonized. Please be mindful and respectful of that in your attempts to find and "break" the cool new spots.  In some cases, these third-generation Angelenos wind up being the most worldly, navigating between the Getty and Skirball while doing business in downtown and heading home to unincorporated East LA county at the end of the day for te con miel de maguey with their parents.

From where I sit, on a maguey and cactus and palm and lemon tree-encrusted bluff overlooking Obregon Park, just blocks from Self-Help Graphics and under a new moon, I think of the Lakota brothers, warriors who often said hoka hey, meaning, roughly, "it is a good day to die," the implicit converse being equally true. "It is a good day to be alive." And while I may miss Warwick Ave. y la familia Perez in El Sereno, I bring it here, to these new digs on an Eastside cliffside that still feeds and nourishes in a way that the Gold Room in Echo park will never do again. Here atop the five-story drop, I must simply remember that I bring all of the Chicano barrios and suburbs I’ve ever inhabited along with me, glued to the luminous fibers stretching outward from the metaphorical ombligo, the belly-button that connects us to all to one another and finds itself reflected in the serenity of the lunar mirror, the face of our abuelita lending light to earth after the sun has set. And who cares if Castañeda merely imagined or made up the curanderos we have come to know and love as Don Juan and Don Genaro?

So yes, thank you, Rosaura Ramirez, for giving me the opportunity to inhabit a hilltop precipice, and thank you Dona Ofelia Esparza for carrying the light these long many years. Gracias por exponer su obra en la galeria y por haber traido tantos hijos e hijas al mundo. The talent and visionary grace you embody have transferred to your children, who have earned every right to ask hipsters and newcomers and even die-hard Chicano literalocos y literatontos like me, “Where you from?”

Welcome to Brooklyn & Boyle, not just an intersection but a state of Mayan…

Friday, June 12, 2009

Doña Ofelia y El Papalotero


Fridays suddenly trickle in under a June gloom cloud cover, even if our disposition is disproportionately sunny. But the afterglow and after burn like psychedelic tracers from a glorious dream are completely justified. I can start with yesterday's tranquil spin at goat tending within the
Anabolic Monument where I decided that Chiquita's little dude should be officially christened "Deer Dancer." Chiquita is a sheep and deer hybrid who leads the small group of chivas who are helping bring nature back to the park many Angelinos used to know as the Cornfields. After herding goats and feeding the foul, I was scooped up by none other than Brandy Maya Healy, a new contributing writer at the magazine, a dancer and longtime City of LA Cultural Affairs department staff member--okay, okay... also Wayne Healy's kid--and her companion Joey Maramba who straps on an electric bass regularly as part a band called the Ninja Academy, fast forward to a small reception at Homeboy Industries where Luís Rodriguez shared some poems as part of the celebration honoring the launch of Homeboy Review, a literary journal now being published by Homeboy Press, a division of Homeboy Industries. It was great to finally meet Father G. live and in person. Next stop: Señor Fish, where ChicanArtista Leo Limón unveiled an incredible show of paintings and oil pastel drawings. We can never get enough of those wry and extremely witty River Catz, bro'! So then it's a Downtown Artwalk to The Hive Gallery where the aesthetic is goth-meets-graphic novel zine, laced with graffiti and Giant Robot-plus-tattoo and Heavy Metal (the adult illustrated fantasy magazine and not the musical genre, Random) imagery. Talk about sensory overload.

Okay, so that was this last Thursday night. Rewind slightly to just over a week ago when Brooklyn & Boyle, the small art space that's grown up around the publishing effort, opened a one-woman show for maestra Ofelia Esparza. About 200 folks came through to congratulate the beloved 77-year-old community artist and an elder who continues to mentor young artists on the Eastside while teaching us how to be kinder and more forgiving human beings. Ofelia's work as an altarista is well-known, but her paintings and monoprints are luminous. Cheech Marin would do well to consider including her work in his storied collection of Chicano art.

Then on Monday, after a quick visit with good people at a send off cena for East LA Cityhood advocate Dr. Oscar Gonzales, (he's going to be a deputy director for the Agricultural Department in D.C.), it was back to ground zero for Eastside cultura, vida y comunidad, where Lilia Ramirez of Liliflor Studios was kind enough to host a meeting with Council Member José Huizar and the group we're calling A.R.T.E.S. (Artists Revitalizing the East Side). It's enough to say that we aren't waiting around to be "discovered" by the next wave of urban gentrifiers and artsy pioneers like those in Los Feliz, Silver Lake and Echo Park who are under the mistaken impression that they are living on the Eastside.

Of course, this all brings us back to a Farmlab/Metabolic Studios morning visit today where I picked up the carrot cake I left in small brown paper bag on the roof of the small barn and gallinero built for the goats and chickens which will fertilize the parkland as part of a reclamation and renewal effort that includes  the cultivation of native pants like sage and xempaxuchil (marigolds for the uninitiated). While I was there this morning, I was able to speak at length with Don Esequiel Contreras, an 86-year-old master kite maker from Lincoln Heights who spoke of his childhood in the neighboring hills. I thought of his young tocayo,  Esequiel Hernández, the young U.S.-born goat herder who was killed by Marines patrolling the U.S. border near Redford, Texas in 1997. The trigger man was a Chicano from Califas. Is it any different now? Gangbangers killing each other. Chicano cops harassing cholos. Latino soldiers forced to brutalize Iraqi and Afghani people. They say the murder of Esequiel was an accident and that absolved the U.S. government, who compensated the Hernández family with over a million dollars in blood money. Everything goes in a circle. I'm tending goats now myself and stand in awe of an octogenarian kite builder whose youthful spirit humbles me. The Mujeres de Maiz offered a song in honor of Ofelia at the June 4th opening here at the gallery and my heart soared. I knew in my soul that my jefita's huitzilin spirit was elated at the outpouring of love and energy for a true maestra. Between Ofelia and Don Esequiel I stand transfixed...  transformado, pero de a deverasImage above: "Tus Recuerdos" Monoprint by Ofelia Esparza.

Friday, May 8, 2009

Brooklyn & Boyle, Vol. 1, No. 5 y ke?

It was an arduous journey, a long-uphill climb, a long distance run punctuated by a trip to the Piaute-Shoshone reservation in the high Eastern Sierras, where I met the Tribal Council and returned to the circle, the ceremony of light on the slopes at the foot of Mt. Whitney. I'm talking about the effort to get one more issue of Brooklyn & Boyle out. I won't launch into a litany of all the "you should have been there" happenstances of art and wonder on the eastern and central edges of Los Angeles during the interim, won't mention how impressed I was that State Senator Gil Cedillo gave the keynote address at an immigration conference and how, as much as I've been pleased with the plucky chutzpah demonstrated by young Emanuel Pleitez, I officially throw my support behind Cedillo. His sincerity and empathy are genuine. 
'Nuff said. I won't digress into a discussion of the several incredible art exhibitions I managed to catch since the last post or how cool it was to visit the Museum of the Southwest with chingón sculpturor Michael Amescua, who will show there for the Museum of the Arroyo Day on May 17th, by the way. No, it'll all have to be left for the next visit. Instead, I offer the fifth and finest edition of the little tabloid newsprint periodical that could, a new kind of community arts magazine for the REAL Eastside. In this, our Mother's Day issue, find an essay by Dr. Karen Dávalos and Chris Torres on our cover artist, Margaret García. The painting featured, a sumptuous piece entitled "Our Daily Bread," oil on canvas, recently sold at her Fremont Gallery one-woman show.

We also feature a review of Sleepdealer by none other than Ehecatl Chumacero, an interview with the illustrious Ruben "Funkahuatl" Guevara, a review by Brandy Maya Healy on the Poli Marichal exhibition at Tropicó de Nopal Gallery and Art Space titled "Sleepwalking in LA,"a review of the new Octavio Solís play Lydia and, as if that weren't enough to entice your interest, a poem by Peter J. Harris and a poem by David R. Díaz, respectively. On the younger end of the spectrum but no less poetically powerful, we interview Frank Escamilla, your friendly neighborhood Bus Stop Prophet. Look for it. Ask for it. I have a feeling you know how and where to find it. If not, well, sorry. I just don't have the time to list the locations of all the drops I'll be making in the next few days. And if did have time, I rather spend it thanking everyone who makes the magazine possible time after time. Stay tuned for issue Number 6. I promise the wait won't be as long. ¡Que viva la palabra y nuestra comunidad!