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Previously, the grey walls had been graffitied in black with what may have seemed to passersby as an unintelligible word: “chimalpopoca.” The term was then partially covered in pink and replaced by more black words in Spanish: “que se rinda tu madre” (let your mother surrender).As if responding to the pink whitewash, the second phrase seemed like a rebellious reflection on the first, “chimalpopoca” being a Nahuatl term that alludes to an Aztec ruler.
Background: This section should provide any background information about the crisis or conflict relevant to your proposed policy. Proposed Steps: This is where you outline your proposed policy. Include which organizations you propose partnering with and why.
Here, you should mention why the issue is important to U. Recommendation: This is where you write your final recommendations for embassy leadership. It is no easy task to jump into the role of a diplomat, especially when confronted by such an urgent crisis.
These colors were not neutral: pink and yellow had been used by Nicaraguan president Daniel Ortega during his 2006 presidential campaign, altering or softening the red and black colors of the revolutionary flag of FSLN (Sandinista National Liberation Front) of which he had been a primordial figure during the 1980s and 1990s.
Ortega, who was leader of the FSLN and president of Nicaragua from 1984 to 1990, lost the 1990 elections to Violeta Barrios de Chamorro of the National Union of Opposition (UNO), a coalition of opposition and right-wing groups.
The last sentence was taken from a poem by Ernesto Cardenal and makes reference to a phrase associated with Leonel, a well-known revolutionary leader in Nicaragua, which is also the birthplace of the artist who had begun the mural project titled ): Ernesto Salmerón.
If the bubblegum pink can be read as a form of soft repression contrasting with the violence of the graphic mark, the half-legible words also point to the continuity of a struggle in a language foreign to the British working class residents that inhabit the neighborhoods around the gallery.
Through highly mediated documentary works, the artist delves in the function of the media, the state, and individual bodies in the construction of a national memory, particularly in the form of the archive.
An analysis of the intertwined relationships between identity and memory, nationalism and revolution, and forgetfulness and politics in the works of Salmerón and the Nicaraguan context allows for a critical reading of the instability of cultural memory and official historical narratives.
USIP first partnered with AFSA for the 2016 contest and was pleased to welcome winner Dylan Borne to Washington in August.
His paper describes his role as an economic officer in the U. Agency for International Development’s Bureau for Democracy, Conflict and Humanitarian Assistance.