VOICES FROM
NICARAGUA
AU.S.-Based Journal of
Culture in Reconstruction Vol.1, No. 2-3
.. Nicaraguan Women
_ Fighting for PeaceVoices from Nicaragua, Vol. 1,
3411 W. Diversey, Chicago,
STAFF FOR THIS ISSUE
Co-editors — Cercle Isoocs and Julie Lesoge
Poetry Translation —
Interview Translation —
‘iano fokePmbstond sualehs MOD *S:
Julio Lesage and Robin Semer
TYPING AND TRANSCRIPTION — Linda Turner, Maryan? Oshana,
Catherine Christeller
Casa El Selvador,
NICARAGUAN ASSISTANCE
For Julia Lesage: The Erozo,
jedores and its Taller de Cine Super-8;
Working Women in Latin America, November 1981
here; Alfonso Gumucio Dagron, author of
Taller de c
For Carole Isaacs: Pat Edmunston, Pat
torico, the women of Ciudad Sandino.
Soravie, and Garcia families:
the women who atte!
we gnd who told some O|
de los trabajedores 9”
Father Bob Stark,
the things written
d founder of the
Instituto His
nes, Kote Pravera,
; U.S. ASSISTANCE
eee Gapisinay. Renny/_Oolden, Mery. Kay Vauohows Maraqcel, Strobel.
eae dasciaty Toylors Kinverly Safford, Halena Salbers-taddy Richers
Circe Ruiz, Eric Berggren.
hans, Marthe Pintzuk, Migdalia Galarza,
Grossman, Chuck KI
fon of Chicago in conjunction with the Capp Street Foundation, 0+
itis issue comes from moterials selected, edited ond translated by
Rofoel Cintron Ortiz Cultural Center, as part of the
Testimonial Poetry (1977-1983). The Rafael Cintron
jes of programs entitled LUCA (Latinos, University,
fifies as LUCA #5 at the Univ. of IL, Chicago.
This isve was portially funded by the Crossroads Foundati
well as by the film joumal, JUMP CUT. The poatry in
‘Tedith Motyka of the Ruiz Belvis Center ond Mare Zimmerman of the
‘ollective book in progress: Nicaragua, Insurrection and Reconsru
Ortiz Center of the Latin American Studies Program produces 6
‘Community, and Art) ond this issue of Voices from eee
The poetry translators wish to thank Linda Rivera for providing the materials that made their work possible
EDITORIAL BOARD OF VOICES OF ~NICARAGUA --
Mare Zimmerman, Susand sdo, Walter Urroz, Kate Pravera
‘Suscripcion--3 numeros/ Subscription
(gastos del envio incluidos/ including postage & handling).
BACK ISSUE: Ernesto Cardenal y otros poetas/ & other poets
CONSTRUCCION/ POETRY & RECONSTRUCTION Vol. 1, Num. 1
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_Companeras
El
Carole Isaacs
Julia Lesage
Pee rivisiccamanagua tors month; by chance, dyeing ny month in Managua,
BU ieck, ces cece sepse-o times ing the OE es cotering & rive-day seminar
BOvn the’Sandinista Labor union, the c.S.7 wonen in Latin America. 1 sat
BM ceetiniecs ce trebaiedsren). A Seninar and made friends vith
eres vsckchor bad hoon catabiished ip on that Sem tzade union activises there.
Peter unicea wacione sepport. Sow the, Micaraguay so eaperience of living
ey hecsuse Kodak hae a monspoly on We ad a er five gaye, and 1 then contact
eee siciis sna developing, coe ¢.5.-7- together for erveno vorked. in Hanagua. for
Mpitrs haa to sena thie fostage ca oa, some of then Mcally, the conference
Panama or Mexico for developing, and they provided an opportunity to interview
Boros sctaye notore choy conta provided an oPPover Nicaragua, not just
Be erioe these work. ats0, at Film Toe ret et the conference organizers
had to be imported, so the C.S.T. could jhad forgotten to bring tapes and a micro-
nae maintain the workshop economically. phone, so I loaned them mine. It was a
ot tre’ cane group of three young film phones #0 oriority to give each woman
Now tacnave joined together with artists Sttending a mimeographed copy of the con-
from the Farmworkers Association (A.T.C.) ference proceeding.
from the "Gides workshop. and consequently
fe forte namesous programs shown on i mention these "hitches," because
national television. In a sense, I helped gathering information in Latin America for
national teleyts Video Workshop ina. tran gathering ag acd solisarity pork in the Uzs2
sitional period. In technical education, often goes by an unpredictable route.
gitionsl Pearly on editing techniques Oren oeetact is usually hard to establish
and alternatives to synch sound interviews, and ycu may not get together with the
th as the use of music, other taped people you had planned to interview. The
_ Such Ge aaterial, and background sound. At Best interviews are often gained through
Sevauggestion of Amina Luna, one of the a chain of personal contacts. In my case,
je suagention of Mine ton fuming 2 Fee Gato interniow the wonen in the
Sits fbn'uorking women's participation dxtended Family I was, staying with so as
nok tovalter the social and affectional
on working
in on that
‘revolution, which the group has
‘completed in video. relations between us. Furthermore, I did
not interview women explicitly opposed to
For the sake of solidarity work in the revolution. There is a certain logic
‘U.S., I developed a project of inter to the interview I did and a certain
, Saring my stay in Nicaragua. randomness, and I understand that my
worten : month's stay may not have been long enough
anish is fluent, since I had worked
| Peru, from 1967-70 with a
lay organization. Because of
liense in Lima, I knew that the Carole: My trip to Nicaragua in
family unit forms the focus of February, 1982, came out of my six-month
‘emotional and social life, experience doing Central American solidar-
live with a fey work. The structure of doing support
Z work, with its overriding priority of i
ending U.S. intervention in Central
America, mado it difficult for me to learn
more about the culture and the people
whose struggle I was supporting. In our
Group's ongoing activities, I especially
missed any in-depth discussion about
Central American women's roles in the
evolution and the meaning of revolution
men's lives there. ‘vhen I ‘to
| to go beyond reportage.