Change the Story / Change the World Bill Cleveland

Born and raised in Mexico City Jose Antonio Aguirre has become internationally recognized for his venetian glass mosaic, and carved limestone murals many of which explore the people, places, and stories he has encountered as an artist who exists in two cultures bound by the Mexican and American bi-national spaces he has occupied for four decades.
The Journey of Jose Antonio Aguirre
In this episode of 'Change the Story, Change the World' we explore the life and works of Jose Antonio Aguirre, a Mexican-American artist renowned for his public art in the forms of murals and mosaics. Born in Mexico City and eventually making his way to the United States, Aguirre's multifaceted career spans roles as a muralist, teacher, journalist, and cultural ambassador. His work, deeply influenced by his bi-national experience, celebrates cultural heritage and challenges viewers to consider social issues and their own identities. Notably, Aguirre collaborated with significant cultural and community institutions such as Self Help Graphics and Art in East Los Angeles and participated in the creation of the Cesar Chavez Memorial. His journey underscores the power of art in community building, heritage preservation, and social commentary, all while navigating the complexities of his adventurous life in the U.S.
00:00 Welcome to Change the Story, Change the World
00:12 Journey to Knowledge: The Power of Public Art
01:30 Jose Antonio Aguirre: A Life in Art and Cultural Diplomacy
04:10 The Chicano Art Movement and Self Help Graphics
08:39 A Serendipitous Journey from Music to Muralism
20:57 From Chicago to California: A New Chapter in Art
31:49 The Evolution and Impact of the Mural Movement
41:10 Closing Thoughts: The Role of Art in Society
BioAs a visual artist, I am dedicated to nurturing the development and production of an ongoing body of art that utilizes a variety of traditional mediums, materials, and techniques in combination with an experimental approach to contemporary technology and social issues. I seek to explore the application of space within an installation, painting, print or public environment that invites the interaction of the viewer with the elements of the composition; the spectator is to be engaged as an active participant and not a passive observer. The nature of my art is dependent upon the exploration and exportation of images, icons, symbols, and signs that have been contained within the continuity of creative expression in Mexican art from 3000 years ago until today. The essence of my iconography is traced from my personal pre-Columbian roots and it’s mixing with religious symbols of Spanish colonization, and compounded by the contradictory reality of “modernism” in Mexico and the United States. The content is inspired by the duality of history and social experience; the color palette inspired by the richness of the folk artists hand and the local regions natural landscapes. Reflecting upon my place of origin (Mexico) and its impact on the recent history of my experience in the United States, I probe the aesthetics of an artist that exists in two cultures bound by bi-national implications. I create a visual imagery that provokes definitions and questions that attempt to integrate the tentative everyday experience of human nature and its social implications with the cultural diversity of living on the border of two worlds that exist in the time of expanding globalization.

Can community theater help mend our broken and conflicted communities? In this episode Ash Hanson shares the story of what she and her many citizen collaborators have learned about how our place stories can help our communities not only heal but find new resilience and common ground.
BIOAsh Hanson (she/her) has two decades of experience working with rural communities to activate stories, connect neighbors, and exercise collective imagination. She is the Creative Executive Officer (CEO) of Department of Public Transformation (DoPT) -- a nonprofit organizations that works at the intersection of creativity and civic life in rural communities. She is a member of the Center for Performance and Civic Practice Leadership Circle and she was an Artist-in-Residence in both the Planning Department at the City of Minneapolis and with the Southwest Minnesota Housing Partnership, where she employed creative community engagement strategies for equitable participation in urban and rural planning and development processes. Previously, she was the Program Director for the Minnesota Theater Alliance—where she managed statewide regional networks and resource sharing—and the Program Director for Public Art Saint Paul—where she produced large-scale participatory public art events and projects, including the Saint Paul City Artist-in-Residence program. In addition to her work with DoPT, she is the founder of PlaceBase Productions, a theater company that creates original, site-specific musicals celebrating small-town life. She holds an MA in Applied Theater with a focus on Rural Community Development, and she was named an Obama Foundation Fellow and a Bush Fellow for her work with rural communities. She believes deeply in the power of play and exclamation points!
To learn more about Department of Public Transformation visit www.publictransformation.org
Notable MentionsDepartment of Public Transformation: We are an artist-led nonprofit organization that works to develop creative strategies for increased community connection, civic engagement, and equitable participation in rural places. We believe in the power of rural creativity in activating solutions to address community challenges.
PlaceBase Productions: Some of America’s most inspiring stories are nestled in the communities of rural towns. PlaceBase Productions is using community theatre to bring these stories to life—and shift the narrative about what it means to live and work outside of big cities.
Ignite Rural: Ignite Rural is an “at-home” artist residency operated by the Department of Public Transformation focused on uplifting and supporting emerging rural artists that engage in social/civic work. To be considered for the Ignite Rural program, artists must reside in rural communities with a population of 20,000 or less within the colonial state borders of Minnesota, North Dakota, South Dakota, and the 23 Native Nations that share that geography with priority given to BIPOC (Black, Indigenous, People of Color) and Native artists and culture bearers.
Partnership Art. In 2015, SWMHP was one of six organizations that received funding...

Michael McCarty in my prison workshops, they say. “Storytelling, you're going to show us how to tell the Three Little Pigs?” I say, “Every living person has at least one story they need to tell. And (telling) that story will help them in their relationship with the people around them, and the world, and more importantly, with themselves.
BIOMichael McCarty: Mother always told me stories. I began telling stories formally when I was in high school in Chicago (St. Ignatius) in the 60’s, stories of Africa and the struggles of African-Americans for freedom. In 1992 I met Joel ben Izzy from Berkeley, CA who was introduced to me as a professional storyteller. “You mean to tell me that people pay you to tell stories!?” I asked. I picked his brain and vowed that I was going to become a professional teller too, and my motto would be “Have mouth. Will run it.” A week or so later I asked myself what would I do as a profession if I was independently wealthy. Tell stories, was my answer.
So I went to my local library and began collecting folk tales from different countries and reading books about storytelling. One day the Young Adult Librarian asked me why I was getting so many books of folk tales and asked if I was writing a paper. When I told him that I was a storyteller he said that he had a group of teenagers that wanted to learn storytelling. Could I give them a workshop? I said sure. The workshop was a success. Thus began my career. And I’ve been running my mouth around the country and around the world ever since.
In 1996 I initiated the GRIOT Workshop in Leimert Park in Los Angeles. This is a place where anyone can come and get assistance in developing their storytelling skills. From 2004 until 2008 I was the Pacific Region Representative for the National Storytelling Network (NSN) Board of Directories.
My life has been one heaven of a story: Student activist, Black Panther, US Army martial arts instructor, acupuncturist, world traveler, spiritual seeker, construction worker, storyteller, husband, father, crazy friend. Never a dull moment! I LOVE my life;-)
Notable MentionsHigh John the Conqueror: John the Conqueror, also known as High John de Conqueror, John, Jack, and many other folk variants, is a folk hero from African-American folklore. He is associated with the roots of Ipomoea purga, the John the Conqueror root or John the Conqueroo, to which magical powers are ascribed in African-American folklore, especially among the Hoodoo tradition of folk magic.[
Have mouth will run it: Michael D. McCarty’s web site
Black Panther Party: Founded in 1966 in Oakland, California the Black Panther Party for Self Defense was the era’s most influential militant black power...

Robert Farid Karimi is not easily pegged. In our conversation we explore some of the stories, ideas, and questions that animate his work. How can humor become a bridge in a conflict-ridden community? What is the role of the fool and gossip in the post truth era? What can community organizers learn from Mel Brooks and Cheech and Chong.

In this episode we continue down the path of the provocative and unexpected with Salty. Along the way we will encounter the secret lives of art gallery security staff, a cooking show called Microwave Magic, bunion fetishes, and a very funny group of incarcerated artists.

Pull back the curtain on one of Salty's works and there's no telling what you will find -- a film, a party, an intimate discussion, a festival, a newspaper, a concert, a feast, and more often than, not an invitation to decide whether you want to participate as an audience member. or as part of the show.