How much can one deform a text to arrived at an unimagined place?
You've got to dig to dig it, you dig?
The touch, the finish — everything about this Nigeria goal was absolutely GORGEOUS. ? pic.twitter.com/hfTMJGnbzs
— FOX Sports (@FOXSports) June 22, 2018
A quilombo (Portuguese pronunciation: [ki?lõbu]; from the Kimbundu word kilombo, “campsite, slave hut”)[1] is a Brazilian hinterland settlement founded by people of African origin including the Quilombolas, or Maroons. Most of the inhabitants of quilombos (called quilombolas) were escaped slaves. However, the documentation on runaway slave communities typically uses the term mocambo, an Ambundu word meaning “hideout”, to describe the settlements. A mocambo is typically much smaller than a quilombo. Quilombo was not used until the 1670s and then primarily in more southerly parts of Brazil.
A similar settlement exists in the Spanish-speaking countries of Latin America, and is called a palenque. Its inhabitants are palenqueros who speak various Spanish–African-based creole languages.
Quilombos are identified as one of three basic forms of active resistance by slaves. The other two are attempts to seize power and armed insurrections for amelioration.[2] Typically, quilombos are a “pre-19th century phenomenon”. The prevalence of the last two increased in the first half of 19th-century Brazil, which was undergoing both political transition and increased slave trade at the time.
1988 Constitution: Article 68
The national black movement and the black rural communities in the northern regions of Pará and Maranhão gathered political momentum throughout the 1980s and succeeded in having quilombola land rights introduced into the 1988 Constitution in the form of Article 68. Regional and national organisations working to fight racial discrimination formed an alliance in 1986 that played an important role in the grassroots political action that resulted in Article 68. Black militants across Brazil demanded reparation and the recognition of the detrimental effects of slavery, including preventing black communities from accessing land.[3] The Black Movement explicitly decided to make land central to their political agenda during the constitutional debates. They capitalised on the perception that there were very few quilombos and that it would thus be mainly a symbolic gesture in order to get it into the Constitution.[4] It was assumed that any community would have to prove its direct descent from a runaway slave settlement.
Quilombolas are mentioned in this article about Inhotim and Paz’s exploitative business practices.
Sancho: An Act of Remembrance
written, conceived and performed by Paterson Joseph. Co-Directed by Simon Godwin.
April 18 – May 6, 2018
The Classical Theatre of Harlem (Ty Jones, Producing Artistic Director), Pemberley Productions and Dr. Barbara Ann Teer’s National Black Theatre are proud to present Sancho: An Act of Remembrance. This timely theater production celebrates the extraordinary life of Charles Ignatius Sancho, an African man who was born on a slave ship and rose to prominence as a noted abolitionist, composer, social satirist and man of refinement in 18th century English society. Sancho makes his mark in history by becoming the first British-African to cast a vote in England in 1774.
Production Team: Ben Park (Music & Sound), Michael Vale (Design), Lucrecia Briceño (Lighting).
… He was born on a slave ship but never a slave. He was immortalized by the great English painter Thomas Gainsborough, and in 1774 became the first British-African to vote. In this revealing and humorous one-man show, celebrated Royal Shakespeare Company actor Paterson Joseph (NBC’s Timeless and HBO’s The Leftovers) inhabits the curious, daringly determined Charles “Sancho” Ignatius—composer, social satirist, general man of refinement—while shining light on the often misunderstood narratives of African-British experience.
BAM – Study guide.
Passing Through Eden: Photographs of Central Park by Tod Papageorge, 2007.


Pilson, John. Aperture, Fall2011


Antonio M. Xoubanova – Casa de Campo, 2013.

PARK LIFE. BELL, ADAM, Afterimage. May/Jun2013, Vol. 40 Issue 6, p36-37. 2p.
New York: Sentimental Journeys by Joan Didion NYBooks
Seneca Village, between 82nd and 89th streets, east of Central Park West. NPR.
The Central Park Five, Directors: Ken Burns, Sarah Burns, David McMahon. Bianculli-NPR. Kenneth Turan-NPR.
Margot Adler‘s beat. NPR.
Tang (1967), Plan B (1970) by Chester Himes.
PAMM presents The Words of Others.
…live reading of artist Leon Ferrari’s seminal 1967 publication Palabras ajenas (The Words of Others)—an important Vietnam-era anti-war piece written in the form of a dramatic script that explorers the language of authoritarianism. Palabras ajenas was Ferrari’s first literary collage, composed as an extensive dialogue among various characters, including President Lyndon B. Johnson, Adolf Hitler, Pope Paul VI, and God. The resulting chorus will be read over the course of eight hours by local community figures, artists, and actors and will take place in conjunction with the exhibition opening of The Words of Others: León Ferrari and Rhetoric in Times of War.?

Performance view: León Ferrari, Operativo: “Pacem in Terris,” 1972
Adriana Banti Archive, Buenos Aires.
Perfomance and show was at REDCAT, as part of Pacific Standard Time: LA/LA.
Exhibition catalogue and an additional book via X Artists Books.

To accompany LACMA’s Found in Translation. PR.