Category Archives: Education

Unique Voices, Shared Visions: Meena Nanji and GlobalGirl Media


“GlobalGirls (L-R) Ariana Seymore, Andrea Reyes, Wendy Garcia, Yasmeen Abdullah, Imani Crenshaw

GlobalGirls (L-R) Ariana Seymore, Andrea Reyes, Wendy Garcia, Yasmeen Abdullah, Imani Crenshaw

The idea that we cannot trust the images that saturate our everyday lives is cliché. We suspect the delectable vanilla ice cream in that commercial is really mashed potatoes; we know the actress making eyes at us from the cover of that magazine in the checkout lane is radiant with the grace of Photoshop. Bitter footage delivered to our screens by the news media seems to be a welcome antidote to the cloying wine of those other, clearly misleading, images. At times we still forget that the camera lens ceases to be neutral the moment someone decides where to point it, even as we rely countlessly on such decisions to give us a faithful picture of the most significant issues and events in our communities and beyond.

In the U.S., that “someone,” the average journalist, is white and male. Women and minorities continue to be vastly underrepresented in the media, especially in managerial positions, and there has been little progress toward greater diversity since the 1990s; indeed, there has even been a decline in some categories over the past few years. This incongruity hardly guarantees a panoramic view of the world. Enter GlobalGirl Media.

GlobalGirl Media is a non-profit organization working to put cameras, along with other tools of the journalistic trade, into the hands of young women from underserved communities in the U.S. and around the globe. While still in high school, program participants receive training in new media journalism, learning to speak out about the issues that affect them and their communities, and preparing to be leaders in a world that is changing rapidly with the proliferation of digital technology and social media.

One of the founders of GlobalGirl Media, award-winning filmmaker Meena Nanji, spoke to The Lamp Project about the organization, as well as her work as an artist with a commitment to finding common ground wherever she goes. Nanji has directed a number of short films, including Voices of the Morning, an experimental telling of a young woman’s coming-of-age under Islamic law, and the award-winning full-length documentary View from a Grain of Sand, which follows three Afghani women who fled the violence in their homeland to live as refugees in Pakistan. These personal stories are presented as part of the larger narrative of the violence and injustices suffered by Afghani women over the past several decades and even to this day. The Revolutionary Association of the Women of Afghanistan (RAWA) gradually becomes a fourth character in the documentary.

“Afghani girls in a Pakistan refugee camp in 2001

Afghani girls in a Pakistan refugee camp in 2001

“Still from View from a Grain of Sand

Still from View from a Grain of Sand

According to Nanji, the best part of traveling and engaging with people of different backgrounds is “finding shared visions in places or people where you least expect them.” In her most recent film, Here and Away, Nanji draws inspiration from different, and diverse, sources. She made the film “on a whim” while in India, after reading “Children on a Country Road,” a short story by Franz Kafka. “I was inspired by that story to transpose it into an Indian setting, and make a short film, that is shot in documentary style, though it is fiction,” Nanji explained. “I feel it captures a certain mood of a village in India, the pace of life perhaps… the many sounds that make up an environment.” However, despite the variety of projects that she pursues, Nanji’s work is unified by her ethical and intellectual commitments, her artistic vision. “I think my works are pieces of a larger, coherent ethical project, even though they may not appear that way,” Nanji said. “For the last little while I have been more open to doing projects that were not originally conceived by me, or doing work-for-hire, but I have found that if I don’t agree with their basic concept or ethics, or values, I just cannot do them. I do sometimes pursue ventures that might be sudden leads, but these always fit into my larger conceptual/ethical framework.”

Nanji’s work with Global Girl Media is an extension of the filmmaker’s ethical project; indeed, Nanji came to co-found the organization in part as a response to her experiences while making View from a Grain of Sand. “Amie Williams, who originally conceived of this idea, had actually just been in Kenya during the 2007 elections and had witnessed some horrifying violence and a girl she had been sponsoring for years was a victim to this violence,” Nanji recounted. “And so she came back wanting very much to empower girls somehow to tell their own stories. I too, after Afghanistan, felt that instead of taking people’s stories away, why not give them the tools to tell their own stories. So these ideas coincided and GGM was formed, with the idea to train girls in digital media and other low cost methods of storytelling, of so that they could have a direct voice to digital global platforms. We decided on girls as they are the most marginalized in terms of creating digital content, or even having their perspectives listened to in any way, so we thought it was a great place to start.”

At the moment, GGM has branches in Los Angeles, Chicago, South Africa, and Morocco, but the organization hopes to expand to Kenya, Mozambique, and Brazil, as well as other countries in Latin America and the Middle East. On the GGM website, one finds young women sharing their experiences and reporting on a variety of topics, including women’s rights, sexual violence, street drugs, and living with HIV. One also sees how excited they are to discover their voices and be part of the global conversations on these and other issues.

In the few short years since its founding, GGM has built an impressive record of achievements. A series on reproductive health created by the GGM participants in LA last year was distributed by PBS online. This year, GGM held its first world summit in Chicago. A number of the young women who have been a part of GGM have won prestigious awards, gone on to study film and journalism in college, and have been hired by NGOs to continue pursuing their passion. Over the summer, the LA participants worked on a series of webisodes tackling the issue of food justice, which aired in September. Meanwhile, the Moroccan branch of GGM recently produced a documentary on sexual harassment, which premiered on November 25th. These videos and many others created by GGM participants are available on the organization’s YouTube channel.

“GGM LA 2011 training: Nanji with GlobalGirls Denise Peralta and Imani Crenshaw

GGM LA 2011 training: Nanji with GlobalGirls Denise Peralta and Imani Crenshaw1

​Without diverse and unique voices, we cannot get the whole story. At the same time, we cannot understand the whole story without an appreciation for how interconnected all the parts of it really are. This makes a program like GGM indispensable, not only for the participants, but for all of us, as we try to learn the truth and make sense of this world we share.

Published January 23, 2014

Giving Form to Invisible Connections: visual artist Lisa Carroll


Investigating the intricate relationship between human beings and their surroundings has been a lifelong passion for artist and designer Lisa Carroll. Carroll brings this passion to bear on her artistic practice, incorporating a variety of media to create abstract pieces that evoke the organic world, probing the boundaries between the manmade and the natural, the individual and the world at large. Her work discloses just how imperfect and provisional such categories are: our sense of opposition or belonging to a broader context can shift dramatically when we are placed in situations—or before works of art—that preclude or, conversely, encourage our contemplation and participation.

"Western Sector" by Lisa Carroll. Mixed media installation.

“Western Sector” by Lisa Carroll. Mixed media installation.

Carroll grew up on the coast of Massachusetts, in a place that she describes as “full of cranberry bogs, marshes, pine forests.”

“For my brother, sister and I these were our playgrounds,” Carroll said. “We would run and explore for miles and lose all sense of time until someone would hear someone’s mother calling to come in for dinner.”

Eventually, Carroll relocated to the San Francisco Bay Area, where she has been living for 22 years. An avid runner and camper, she spends much of her time in the remote places of California.

“My understanding of the West is that of both place and spirit,” she explained. “It is my ideal vacation to get myself to a remote lake in the mountains, hike to a hot spring, set myself down on a mesa in the desert, tuck away into a pocket in a canyon and feel myself in the middle of everywhere out there in the middle of nowhere. There is a perfect spot at 8,000 feet in the White Mountains (Eastern CA) where you can look across Owen’s Valley toward the Eastern slope of the Sierras; it is a pleasure to sit there for hours watching the light change and shape that endless space. That is the West in an external sense. There is also the West in an internal sense, the mode of quest, engaging one’s curiosity.”

It is the landscape of California that has had the most decisive influence on Carroll’s artistic sensibility, suggesting materials and motifs for her gorgeous paintings, sculptures, and installations. One of the recurring forms in Carroll’s work is lichen, which she became interested in over time, through her repeated encounters with it in her athletic practice.

“For years I had been running the trails in Redwood Regional Park finding my eye drawn to the lichen encrusting the Bay Laurels,” Carroll said, “And then it just built to a point where the only possible next thing to do was to make that connection and create artwork that expressed my sensorial ritual experience of taking in that lichen for all those years.”

This motif was featured prominently in Western Sector, an installation Carroll created as part of a group exhibition at Inhabit Gallery in Oakland. Walking into the room, viewers found themselves surrounded by clusters of large, delicate lichen-like shapes framing the room’s functional elements and spilling onto the floor, their organic exuberance not so much at odds with the simple geometry of right angles as complementing it, transforming the gallery space so that it might be experienced with the body as well as with the eye. Inviting the viewer to explore and inhabit a temporary space, the work functioned as a reminder of the continuity between nature and human activity, and the simultaneous ephemerality and repetitiveness of their processes.

“It is an acknowledgement that our impact on our environment is a pattern,” Carroll explained. “The action of making each individual part is a repetitive act, a meditation, an act of devotion, embracing the merging of the divine with the mundane. The action of installing and de-installing continues the process. We are nature.”

Carroll has also carried her sense of belonging to a broader context beyond her creative engagement with the mountains, forests, and coastlines of the West. Among other things, she has channeled her love of running into an effort to aid some of the most vulnerable members of the global community. In 2010, Carroll joined her longtime running partner Deidre (Dee) Williams on a 40-mile run to benefit Run For Congo Women.

The situation in the Democratic Republic of the Congo has been a humanitarian crisis for years, and women have paid the heaviest toll for the unending war. Many have lost homes, friends, and family members—including children, many of whom perish before the age of five from inadequate nutrition and medical care. Moreover, the bodies of women have long been treated as part of the battlefield. Horror stories of torture and gang rape abound, and survivors have to live with the physical and psychological trauma, as well as the stigma that rape inevitably carries, usually subsisting below the poverty line and without access to resources that might help them start over.

Run for Congo Women is a grassroots effort to raise awareness and funds for women affected by the continuing violence in the Democratic Republic of the Congo through running and walking events. According to Carroll, her running partner had been inspired by Lisa Shannon, the organization’s founder. When Williams first discussed the idea with her, Carroll recalled in a phone interview, “It brought tears to my eyes… I had no idea that there was something like this out there and that I could be involved.”

They called their run the 40-40-40 Project, dedicating each mile to a specific Congolese woman. Carroll worked out the logistics and designed their route. On the day of the run, they took part in a drumming ritual, establishing a connection with the women to whom the run was dedicated. The grueling nature of a forty-mile run deepened this connection.

“[When you run for long distances], you tap into interesting places in your mind,” said Carroll. “By mile eighteen I was in pain, but the thought of stopping was not possible because these women were on our minds… We have a refrain: ‘Pain is just a sensation.’”

To date, Run for Congo Women has raised over $1 million for Women for Women International, an organization which enrolls women in war-torn regions of the world in yearlong programs that offer counseling, education, and job training. The goal of the program is to provide women with skills and confidence they can put to use in starting businesses and building better lives for themselves and their children.

So far, over 58,000 women have benefitted from the organization’s work in the Democratic Republic of Congo. Almost all of the participants in the region have first-hand knowledge of the miseries and deprivations of war, whether through seeing their homes destroyed, surviving rape or the loss of loved ones, or being unable to receive necessary healthcare. Graduates of the program report an increase in confidence, and most are able to find jobs or even start businesses of their own, contributing to the growth of their economy and the healing of their nation. The Women for Women International website reports that “[o]n average, graduates nearly double their income over the course of the yearlong program.” Additionally, 98% of the women who finish the program report knowing their rights, compared to 5% of those who are just entering the program. These are encouraging statistics. Amidst the wreckage of war, the strong, courageous women who can support themselves, their children, and one another may be the surest sign of hope for the future.

Calvin Grimm: Nature’s Power, Captured on Canvas

When you look at Calvin Grimm’s paintings, what do you see? Biomorphic forms and vivid colors? Abstract expressionism – with an organic twist? The melding of line and shape that both haunts us and gives us hope? There’s no right answer; the work of this Woodstock-based artist and environmentalist embodies all of the above. Each of Calvin Grimm’s paintings is a rich and personal expression of our human relationship with the natural world. He articulates that his goal in painting is “to inspire people spiritually through art in a conversation about the beauty of nature and about the sustainability of nature. I feel gifted that I can do that through my art.” There’s another important element to Grimm’s work: optimism. “Very often my paintings are optimistic because nature is constantly fulfilling and revitalizing,” he says. Grimm’s gift with a paintbrush allows him to share the beauty of nature with others, and to engender hope that humans can interact meaningfully with, and protect, our natural world. He calls painting “the unique language that I have to help people feel optimism, so we can sustain the fight, and sustain the involvement [in environmental activism].” Grimm shares this unique language and skill with a number of organizations whose missions center around environmental protection.

Calvin Grimm: "Seeker/Sought: Deep Ocean/Deep Space Series". 2013. Oil on canvas.

Calvin Grimm: “Seeker/Sought: Deep Ocean/Deep Space Series”. 2013. Oil on canvas.

Grimm believes firmly in the importance of experiencing nature’s beauty and power firsthand. This, he says, is our best environmental defense system: if people interact with the natural world, they will come to see its importance, and then will be inspired and motivated to protect it. Beginning in the early 1970’s, Grimm became involved in the National Outdoor Leadership School, or NOLS, leading five-week-long mountaineering and sea kayaking expeditions in Wyoming and Alaska. (He also transported supplies to the adventurers by horseback). He says that the work allowed him, and the young people on the trip, to “absorb the nuances of the natural world,” and to “experience the wilderness, and the dynamic of forces and people and the changing environment, and all the while, to build a sensitivity in how we relate to that environment.” The genuine interaction between people and the natural world makes up the basis for human respect for nature – and the foundation for working together to protect it.

In addition to his work with NOLS, Grimm has been involved with the Hudson River Sloop Clearwater, a 106-foot long replica vessel of the sloops that sailed the Hudson River in the 18th and 19th centuries, conceptualized by activist and American folk legend Pete Seeger. Since its construction in 1969, the Clearwater has served as the flagship of the environmental movement, its purpose to educate youth about what they can do to protect and preserve the Hudson River.

Don’t miss The Lamp Project’s video exhibit of Calvin Grimm’s work, plus the on-camera interview about his life, art, and causes.

Grimm was a boatswain on the Clearwater throughout the 1970’s, charged with the boat’s maintenance, as well as an educator for students who came aboard. He describes Seeger’s vision and the mission of the Clearwater: “If you get people to fall in love with the river, they can actually appreciate that there are living creatures in it, and that it has a life of its own. Then, it became a love, which became a political force – Seeger wanted to create a groundswell of political activism – taking people’s sense of love and a sense of the crime that was being done and transforming that emotion into action.” Grimm also mentions how powerful it was for children to see that it took serious teamwork to raise the boat’s huge sail, an idea of collective intention that would fuel their efforts as champions of the environment long after they disembarked the Clearwater.

Depicting the devastation – both physical and emotional – of nature’s destruction by humans is also an important element in Grimm’s work. He describes the time he spent in Prince William Sound, Alaska, and the particular memory of how the tide receded to reveal sea urchins and sea anemones clinging, vulnerable, to the rocks. He developed “a deep and personal relationship with those creatures.” When he heard news of the Exxon Valdez oil spill in 1989 in Prince William Sound, Grimm was overcome with emotion. What he’d begun in his studio as a hopeful painting about these sea animals became “visceral, slimy, oily, and devastating. The creatures attempted to pull themselves out of the mess, unsuccessfully, and black crows were flying around, but it was all in an abstract representation…It was a real expression of my disappointment, my hurt, and my anger.” Grimm channeled his emotions into his work, and the result was a remarkable canvas that chronicles a disastrous natural and historical event. When he heard news of the BP oil spill in 2010, Grimm knew that he had to revisit the painting. The final canvas, titled Exxon Valdez to BP Gulf Oil Spills (1989-2010), both awes us in its beauty and frightens us in its reality.

In speaking about his work with youth, Grimm also touches on our modern disconnect with nature. He mentions Nature Deficit Disorder, a condition defined by a lack of connection with natural elements that can result in attention and mood disorders, depression, and obesity. He says that children in particular have lost their interest in and respect for nature, and have not “developed their intuition, sensitivity and feeling for it. They can’t have a spiritual experience with it if they can’t actually feel it.” In terms of protecting our environment, the worry is that “these people are not going to be qualified to steward [nature], not being in touch with it, and not knowing what it means to lose it.” Grimm speaks with a palpable sadness, and we can see the potent memory of his experience working with youth on the Clearwater and during NOLS expeditions.

But, ever the optimist, Grimm continues to show us through his work how central and vital our connection with nature can be. And, Grimm maintains his connection to various environmental protection organizations, such as The Woodstock Land Conservancy, by painting pieces to be used as auction centerpieces that attract critical fundraising. Grimm’s home, too, stands as a testament to his passion for protecting our environment. Built out of recycled and repurposed materials and designed to complement the wooded mountainside it rests on, Grimm’s house functions as both an art gallery to display his work, and a work of art to be admired all on its own.

To be sure, it will take more than appreciating works of art imbued with the majesty of our natural world to alter attitudes and environmental policy. And paintings may never be enough to recapture what we have already lost. However, the impact of Calvin Grimm’s art is undeniable: he allows us to understand what, precisely, we are fighting for.

If you are interested in learning more about Calvin Grimm and his art, please visit his website, You can also learn more about the organizations that Calvin Grimm is involved in, including the Hudson River Sloop Clearwater, and the National Outdoor Leadership School (NOLS), by visiting their websites for more information.

“Mollie Stone: Solidarity Through Song”


Mollie Stone directing CCC

The power of music goes beyond what you hear — it has the ability to comfort, to educate, to empower and to connect individuals even if they are on the other side of the world. Music has the power to bring revolutionary change in a peaceful manner during challenging times. Mollie Stone, a conductor of the Chicago Children’s Choir, has been able to experience the unifying power of music throughout her career in South Africa and the U.S.

Through her extensive work with South African choirs and her project “Vela Vela,” Stone raises awareness about the significance of music for South Africans and its role in political and social issues like the anti-apartheid movement and the current struggle against HIV. She also emphasizes the importance of maintaining authenticity when learning and teaching music from different cultures.

With her mother constantly playing South African music in their home in Chicago, Stone was already familiar with world music as a child. Quite naturally, she became drawn to South African choral music when she learned national songs linked to the anti-apartheid movement as a member of the Chicago Children’s Choir during her teenage years. When the South African apartheid was in the process of ending, learning those songs felt very relevant to Stone. “It was happening half a world away, but it was really interesting since it paralleled our own Civil Rights Movement,” Stone said on the phone.

She gained a newfound love for South African music when the Choir went on tour in the country in 1996. She loved the music for its beautiful sound and the way it united South Africans in helping them form a new national identity after apartheid.

However the complex rhythms, the rich vocal tones, and correct pronunciation in those South African songs were all lost with the simplified versions that Stone learned in the choir when they returned to the U.S. “South African music unfortunately is one of the most butchered by transcriptions,” Stone explained. “When you try to notate South African music, it really just destroys it…It ends up sounding nothing like South African music.”

In recalling her frustration, Stone also explained that the simplification of South African music risks feeding the harmful stereotypes that music from different cultures are inferior to Western classical music, which would be a poor influence on younger generations. “If we teach music from other cultures well, [young people] will grow up to care about the rest of the world and not just think that America is the center of the universe…If we dumb it down, we’re teaching our kids something that’s really wrong and really racist in the long run.”

To address this problem, Stone created “Vela Vela” during graduate school to allow teachers and students in other countries to learn South African music directly from South Africans. With this project, Stone and her friend returned to South Africa to record natives teaching their songs through oral tradition — the way they’re supposed to be taught. Despite the numerous logistic and technical challenges in producing “Vela Vela,” it was all worth it when the teaching DVD was met with success. “It [allowed] Americans to hear what South Africans actually sound like when they sing their music,” Stone said.

“Vela Vela” also highlights the crucial role of music in South Africa’s persisting issues of government corruption, poverty, and HIV, the spread of which has been a dire problem in the country’s society.

“There are many reasons in which one in three people are infected,” Stone said solemnly. Open discussion about HIV is discouraged because of the danger of becoming a target for violence. Many women who don’t have control in their relationships or their sexual safety contract the virus when their partners don’t want to use condoms, which contributes to the large population of children and orphans infected with AIDS. “Only in the past few years have things changed so that people now have access to anti-retrovirals that enable them to live with the virus,” she added.

South Africans continue to fight for change with the limitless power of music. “In South Africa, people always adapt their choral music to use in different struggles, and so singing songs that helped them be successful in the past gives a sense of hope and determination that they’ll survive this current struggle. […] When they sing, they feel they’re a part of a community but they’re individuals,” Stone said.

“To see that as a conductor is really inspiring because in America, we don’t often sing music that is really connected to anything that we’re dealing with, especially politically and socially,” she continued. “To have music be such a part of everyday life sort of comes naturally in South Africa in a way that it doesn’t here or in anywhere else that I’ve ever seen.”

Today, Stone continues to share her passion for South African music by teaching workshops across the U.S. wherein she expands her students’ musical knowledge and lets them see how music from different cultures can connect with the issues in their own lives. “They feel like they’re in solidarity with people in their own communities and in other countries when they sing the South African songs about HIV…If we sing songs about the anti-apartheid struggle, we’ll talk about inequality.”

She also recounts the many times the faces of her advanced students light up with joy when they realize that singing South African choral music helps them better understand compositions from Brahms or Bach. “Everything is so connected, and to break down that wall is so exciting.” Stone believes fervently devoting herself to teaching her workshops as authentically as possible gives her students the chance to become more global citizens by learning music from different cultures without feeling self-conscious.

The enthusiastic reactions of her students motivate Stone to continue growing as a passionate teacher, conductor, and individual. “It’s amazing to have that constant balancing of being open to the world around me and then bringing it back to my students, and then learning from them how to share the things that turn on all the lights in my head, my soul, and my voice.”

So Much to Tell: playwright Raúl Dorantes


On a September evening in one of Chicago’s oldest but least gentrified neighborhoods, two actors step onto a small platform stage and assume character. A hand-painted mural, a map of the US-Mexico border, provides the set. Above it a black and white video begins, with English super-titles. The play is De Camino al Ahorita (the way to the present moment), by Raúl Dorantes. It is presented in Spanish, in a community gallery named Calles y Suenos, in the Mexican-American neighborhood called Pilsen.

Two characters encounter each other here, in a remote desert and intense August heat. One is a young man on his way into the U.S. to find work and realize his ambitions, while the other is an older man retracing his steps back to Mexico after losing nearly all he valued in pursuit of success. One believes in the promise of America, the other is fleeing its dystopian backstory. Together, they are like a dog chasing its own tail. The absurdity is clear but amplified by the simultaneous, almost hallucinatory video segments of souls crossing over from life to death.

Near the end of the play, a third character enters the scene. He is an overly-aggressive border patrol agent with unapparent Latino heritage. His arrival induces confrontation between characters, just as it amplifies the questions: Who is illegal? What is asylum? In answer, the play exposes the ultimate dictator, hunger, and the ultimate lesson, that apparently disparate lives are deeply interconnected.

This play was written for people in this Mexican-American community and beyond, for anyone who knows or cares to know about the immigrant’s struggle between economics (survival and success) and identity. After its closing in Pilsen, it was presented to an audience of 170 at Northeastern Illinois University. It is so like Dorantes to begin at the center and expand.

Actor, JJ Romero in De Camino al Ahorita

In 1992, playwright and author Raúl Dorantes began publishing literary journals in Chicago. His focus was on poetry that explored internal consciousness and experience. That journal continued for three years while Dorantes conducted literary workshops for youth and began a career teaching Spanish. He continues to teach Spanish Language and Hispanic Literature in two Chicago-area colleges.

Dorantes’ own writing has long explored immigration and identity. He reflects deeply on the process of his own changing identity, the identity carried from his native country as it has undergone adaptation and transformation. As he explains, “There is a moment when the identity of the immigrant takes the first row and the Mexican identity moves to the second row. When we want to probe that we are still Mexican, that establishes the moment in which immigrant identity moves to the front. Probably we are not conscious about that shift.”

He has also embraced the shared experiences of immigration as co-founder of the literary journals, Zorros y Erizos (Foxes and Hedgehogs) and Tropel (Herd of Wild Horses). Dorantes has also co-written a book of essays with Febronio Zatarain, titled, Y Nos Vinimos de Mojados: Cultura Mexicana en Chicago (And We Came in Wet: Mexican Culture in Chicago). His continuing journalistic work on the national magazine, Contratiempo, concerns broader Latino culture.

In 2007, Dorantes accepted a pivotal challenge–to write for the Chicago theater company, Aguilon. The resulting play was so successful that it was also presented at the prestigious Goodman Theater. Dorantes’ work as a playwright had gained momentum and he went on to write plays for the theater group, Colectivo el Pozo. The Chicago Reader designated his most recent play a “Critic’s Choice” on its short list of recommendations.

Teacher, cultural activist, and writer, Dorantes’ work itself serves the purposes of several local organizations, but the proceeds from his work as a playwright often go to directly support them. Colectivo el Pozo, Calles y Suenos, Casa Aztlan, Contratiempo–all four are non-profits to which he has made a significant contribution of time, creativity, or proceeds. All are small non-profit organizations with a mission to cultivate and disseminate Latino arts to a broad spectrum of Latino communities.

Speaking of his dedication to these causes, he explained, “Art is probably one of the best ways to become aware of many things, including being aware of our constantly-changing identity.”

Dorantes says his next work will be a play called Incas, about gay culture in the Latino communities of Chicago. Still, he says, “I want to be writing and producing plays about immigrants (not just Mexicans) living in the United States. I think there is so much to tell.”


Pictured above: Actor, Marco Polo Soto; Director, Ignacio Guevara; Playwright, Raúl Dorantes.


more about Raul Dorantes | profile by Arte Y Vida Chicago

Calles y Suenos-Chicago | MySpace Page | Facebook Page
Calles y Suenos-Chicago provides an alternative arts space for exhibition, performing arts, music, film and cultural workshops for the Latino community. A Latino Internationalist community, it works to sustain collaboration and cultural exchange among the diverse Latino communities in Chicago with its sister organizatons in Oaxaca, Mexico.

Casa Aztlan is an educational and social center that offers cultural activities, community service opportunities, leadership development services for youth, adult education, citizenship assistance, emergency services, and community organizing. Casa Aztlan is also on the vanguard of the human rights movement and immigrants’ civil rights.

The mission of Contratiempo is to inform and educate, while creating awareness among Latino communities about the culture, literature, politics and other topics relevant to their daily lives as immigrants in the United States. Its programs include a publishing house, cultural events, literary workshops, a Narrative in Spanish prize, and the publication that gave rise to the organization, the journal, Revista Contratiempo.

Collectivo el Pozo | Facebook Page
Colectivo el Pozo (The Well) is composed of a group of storytellers, poets, and other artists. Together, they produce theatre works written by local authors who write in Spanish. El Pozo promotes the diverse themes of Latin-American immigrants living in the United States.