We respectfully acknowledge that we live and operate on the ancestral lands of the Seminole, Miccosukee, and Mascogo peoples, the Traditional Custodians of this land
Team
EDITOR-IN-CHIEF
MARIELA SAAD
PHOTOGRAPHERS
ART DIRECTION
THAMARA BEJARANO
CONTRIBUTING WRITERS
MARC PENN II THAMARA BEJARANO CARLOS FUGUET
AKOSUA FADHILI AFRIKA
GISELA ROMERO
ELIANA STRATICO
ABOUT THE COVER
Pulse by Patrick Noze 36x40 inches
Acrylic on canvas.
EditorsLetter
PALM TREES STANDING TALL*
I am a universal being, a citizen of the world.
I continuously invent and reinvent myself. I identify the multiple identities that constitute me, discover, understand, and take pride in them
Paraphrasing Maalouf, whom I deeply admire, what makes me who I am, and not someone else, is that experience of living on the borders of two or more countries, of two or more languages, of various cultural traditions All that richness and diversity is precisely what defines my identity My identity brings me closer to the vastness of the world, it doesn’t alienate me
In this issue of Open Zine, we want to continue focusing on the universality of our content We aim to be a space for diverse voices to talk about what concerns us, about what is happening in our city, our country, and our world.
We have decided to transition to a format that allows you to read this content for what it is: a magazine about arts and culture
Open Zine invents itself, reinvents itself, and presents the reader with content that fuels curiosity and invites reflection
I hope you enjoy going through the pages of this new edition. Read, listen, see, feel, enjoy!
PALMERAS ERGUIDAS*
Soy un ser universal, ciudadana del mundo.
Me invento y reinvento continuamente. Identifico las múltiples identidades que me constituyen, las descubro, las comprendo, y me enorgullezco de ellas
Parafraseando a Maalouf, a quien admiro profundamente, lo que me hace ser yo, y no otra persona, es esa vivencia en las lindes de dos o más países, de dos o más idiomas, de diversas tradiciones culturales Toda esa riqueza y diversidad es precisamente lo que define mi identidad Mi identidad me acerca al mundo en su vastedad, no me aliena.
En este número de Open Zine, queremos seguir enfocándonos en la universalidad de nuestro contenido Deseamos ser un espacio para diversas voces, hablar de lo que nos inquieta, de lo que ocurre en nuestra ciudad, nuestro país, nuestro mundo
Hemos decidido transicionar a un formato que te permita leer este contenido como lo que es: una revista sobre arte y cultura.
Open Zine se inventa, reinventa, y presenta al lector contenido que alimenta la curiosidad e invita a la reflexión
Espero que disfrutes recorriendo las páginas de esta nueva edición. Lee, escucha, ve, siente, disfruta!
Editor-in-Chief
*A palm tree is a symbol of resilience, adaptability, and strength. It stands tall, often in challenging environments like deserts or along coastlines, enduring harsh conditions while remaining graceful and steady
Just as the palm tree thrives in various environments, our universal identity embraces the richness of multiple cultures, languages, and traditions, staying grounded in its core while reaching out to the vastness of the world
*La palmera es un símbolo de resiliencia, adaptabilidad y fuerza. Se mantiene erguida, a menudo en entornos desafiantes como desiertos o costas, soportando condiciones adversas mientras permanece firme
Así como la palmera prospera en diversos entornos, nuestra identidad universal abraza la riqueza de múltiples culturas, idiomas y tradiciones, permaneciendo arraigada en su esencia mientras se extiende hacia la inmensidad del mundo
TheBad,TheUgly… andTheGood!
BY THAMARA BEJARANO INFOGRAPHY BY THAMARA BEJARANO
Florida's budget for 2025 has been slashed by 98.3% due to cuts from Governor Ron DeSantis, a devastating blow to the state's cultural and creative sectors (CCS) Yes, it is bad and ugly This is alarming not only for Florida but also for the United States, which is lagging globally in recognizing the critical importance of public investment in CCS
Funding for cultural and creative sectors is widely understood as an investment with substantial economic and social benefits. The Organisation for Economic Co-operation and Development (OECD) and numerous cultural observatories emphasize that public support for CCS is vital for preserving cultural heritage, fostering innovation, and driving economic growth. In contrast, the U.S. relies heavily on private investment, with public support playing a secondary role, leading to a complex financial ecosystem that often falls short
The successful transformation of "average" communities into vibrant cultural and creative destinations exemplified by cities like New York, London, and Paris requires a multifaceted approach It starts with policymakers actively embracing multiculturalism as an asset -a common factor among the world's greatest arts and culture hubs-, preserving and adaptively reusing historical or industrial spaces, and sustaining active collaboration between government, private investors, and cultural stakeholders To unlock the potential of multicultural cities like Orlando, strategic urban planning, community engagement, and targeted support for creative industries are essential
LoMalo,LoFeo… yLoBueno
POR THAMARA BEJARANO INFOGRAFÍA POR THAMARA BEJARANO
El presupuesto de Florida para 2025 ha sido reducido en un 98 3% debido a los recortes del gobernador De Santis, un golpe devastador para los sectores culturales y creativos (CCS) del estado Sí, es malo y feo Esto es alarmante no sólo para Florida, sino también para los Estados Unidos, rezagado a nivel mundial en reconocer la importancia crítica de la inversión pública en los CCS.
La financiación de los sectores culturales y creativos es ampliamente entendida como una inversión con beneficios económicos y sociales sustanciales La Organización para la Cooperación y el Desarrollo Económicos (OCDE) y numerosos observatorios culturales enfatizan que el apoyo público a los CCS es vital para preservar el patrimonio cultural, fomentar la innovación y promover el crecimiento económico En contraste, Estados Unidos depende en gran medida de la inversión privada, con el apoyo público jugando un papel secundario, creando un ecosistema financiero complejo que a menudo se queda corto en cubrir las necesidades del sector cultural
La exitosa transformación de comunidades "promedio" en destinos culturales y creativos vibrantes ejemplificada por ciudades como Nueva York, Londres y París requiere un enfoque multifacético.
Comienza con los responsables políticos entendiendo en profundidad al multiculturalismo como un activo (factor común entre los mayores centros de arte y cultura del mundo), la preservación y reutilización adaptativa de espacios históricos o industriales, y el mantenimiento de una colaboración activa entre el gobierno, los inversionistas privados y las partes culturales interesadas. Para desbloquear el potencial de ciudades multiculturales como Orlando, es esencial la planificación urbana estratégica, la participación comunitaria, y el apoyo dirigido a las industrias creativas
“HundredsofFloridaarts groupsscramblefor
“Modelomotosierra:
“That’showyougrowsomethinggood—bybuilding
capacity,plantingconfidence,planningforwell-being, and having a clear direction. Let’s keep investing in moreloveandmoreart!”
Asíescomosecultivaalgobueno:construyendo capacidad,sembrandoconfianza,planificandoel bienestar,yteniendounadirecciónclara.¡Sigamos invirtiendoenmásamorymásarte!
The
Good News?
Orlando Is on the Right Path
After analyzing five case studies from the book The Culture Fix: Creative People, Places and Industries, published by the OECD, the common success factors are almost the same ones that United Arts, Orange County, and the City of Orlando are starting to invest in: support for entrepreneurial activities and the creation of vibrant public spaces essential to catalyzing the development of thrilling cities and districts, making them hubs for creativity, cultural expression, and social inclusion
“The Canvas Cultural Plan – Orange County’s first in two decades – will align arts and culture with the priorities of the City of Orlando and Orange County, with the intent of fostering greater opportunity and sustainability for all.” This is developing now, although we will probably see the results in the next decade
Similarly, the enormous investment by the DeVos Family Foundation, in partnership with the DeVos Institute of Arts Management at the University of Maryland, through their Capacity Building: Central Florida initiative, will make a significant impact This two-year technical assistance and planning intensive supports 20 arts and culture organizations throughout Central Florida, and Open Scene is proudly a beneficiary Since 2001, the DeVos have served more than 2,000 organizations in over 30 diverse communities across the United States.
That’s how you grow something good by building capacity, planting confidence, planning for well-being, and having a clear direction. Let’s keep investing in more love and more art!
¿La Buena Noticia? Orlando Está en el Camino Correcto
Después de analizar cinco estudios de caso del libro
The Culture Fix: Creative People, Places and Industries, publicado por la OCDE, los factores comunes de éxito son casi los mismos en los que United Arts, el Condado de Orange y la Ciudad de Orlando están comenzando a invertir: el apoyo a las actividades emprendedoras y la inversión en generar espacios públicos vibrantes son esenciales para catalizar el desarrollo de ciudades y distritos atractivos, convirtiéndolos en centros de creatividad, expresión cultural e inclusión social
“El Plan Cultural Canvas – el primero del Condado de Orange en dos décadas – alineará las artes y la cultura con las prioridades de la Ciudad de Orlando y el Condado de Orange, con la intención de fomentar una mayor oportunidad y sostenibilidad para todos ” Esto se está desarrollando ahora mismo, aunque probablemente veremos los resultados en la próxima década.
De manera similar, la enorme inversión de la Fundación DeVos, en asociación con el Instituto de Gestión de Artes DeVos de la Universidad de Maryland, a través de su iniciativa Capacity Building: Central Florida, tendrá un impacto significativo Esta asistencia técnica intensiva de dos años capacita a 20 organizaciones de arte y cultura en Florida Central, y Open Scene se enorgullece en ser una de esas beneficiarias. Desde 2001, el DeVos ha servido a más de 2,000 organizaciones en más de 30 comunidades diversas en los Estados Unidos.
Así es como se cultiva algo bueno: construyendo capacidad, sembrando confianza, planificando el bienestar, y teniendo una dirección clara ¡Sigamos invirtiendo en más amor y más arte!
Additionaldata.*
New Mexico
$32,355,000
$1,718,100
$32,355,000 0.0%
$1,293,510
$1,293,510
To read more about this, visit our blog at www.OpenScene.org/blog | Para leer más sobre esto, visita nuestro blog en www.OpenScene.org/blog
Sources (retrieved on different dates in August 2024) | Fuentes (revisadas en distintos días del mes de Agosto 2024)
https://www americansforthearts org/ https://www arts gov/sites/default/files/74 pdf https://artreview com/we-have-saved-culture-france-boosts-2022-culture-budget-to-4-billion-euros/ https://fundar org mx/pef2022/presupuesto-federal-para-cultura/#: :text=aprobado%20de%201 2%25-,3 ,del%20presupuesto%20aprobado%20en%202021 https://www giarts org/sites/default/files/2023/February/GIA PublicFundingForTheArts 2022 web pdf https://thecitypaperbogota com/culture/colombia-to-invest-us1-8-billion-this-year-in-cultural-reactivation/ https://www oecd-ilibrary org/sites/991bb520-en/1/3/10/index html?itemId=/content/publication/991bb520en& csp =25e0b9f49c18c1dc4aca61a51754cf0b&itemIGO=oecd&itemContentType=book#section-d1e30970 https://www orangecountyfl net/CultureParks/Canvas aspx https://www statista com/statistics/1181331/japan-government-expenditure-on-art-and-culture-bycategory/#:~:text=Governmental%20spending%20on%20art%20and%20culture%20in%20Japan%20FY%202022%2C%20by%20category&text=In%20the%20fis cal%20year%202022,Japanese%20yen%20on%20cultural%20facilities State or
FORUM ALERT!
CreateDangerously
Produced by Open Scene in collaboration with the Haitian American Art Network, will explore cultural identity and the impact of post-colonialism, with a special focus on the challenges and contributions of Black Latino immigrant artists
Main Speaker: The acclaimed Edwidge Danticat! Known for her powerful storytelling and advocacy for Haitian culture, Danticat’s impactful works have earned her prestigious awards and a place as a leading voice in literature and diaspora discourse
Moderator: Dr Akosoua Fadhili AfriKa, Associate Professor in the Department of Modern Languages & Literatures at the University of Central Florida, writer, and educator She is a dedicated advocate for French Caribbean literature and identity
Guest Artist: Patrick Noze, Born in Haiti in the province of Jeremie 'City of Poets'. He was introduced to the world of art years before achieving International success, by way of his father, Robert Noze.
Date: September 4, 2024
Time: 6:00 PM
Location: Art & History Museum of Maitland Germaine Marvel Building
RSVP: www.OpenScene.org
WHEREARETHE “MAECENAS”?
BY GISELA ROMERO PHOTOGRAPHY COURTESY OF GISELA ROMERO
¿DÓNDEESTÁNLOS MECENAS?
“Maecenas” were people of great economic or political power, who financed and supported creators (artists, scientists, writers, etc ), allowing them to develop their work without having to worry about their subsistence. The term “Maecenas” comes from Gaius Cilnius Maecenas, a wealthy advisor and friend of the Roman Emperor Augustus, who was a great patron of the arts and literature in ancient Rome
The concept of patronage has been fundamental in the history of art and culture, especially during the Renaissance. During this period, families such as the Medici in Florence, the Sforza in Milan, and the Popes in Rome were important patrons
Thanks to their support, some of the most important works in art history were produced. The Medici, for example, directly supported numerous artists and played a key role in the flourishing of the Italian Renaissance. Some of the artists who received his support include Leonardo da Vinci, Michelangelo, Sandro Botticelli and Raphael.
Los mecenas fueron personas de gran poder económico o político, que financiaban y apoyaban a creadores (artistas, científicos, escritores, etc ), permitiéndoles desarrollar su trabajo sin tener que preocuparse por su subsistencia. El término “Mecenas” proviene de Cayo Cilnio Mecenas, un rico consejero y amigo del emperador romano Augusto, quien fue un gran patrocinador de las artes y la literatura en la antigua Roma
El concepto de mecenazgo ha sido fundamental en la historia del arte y la cultura, especialmente durante el Renacimiento Durante este período, familias como los Médici en Florencia, los Sforza en Milán, y los Papas en Roma, fueron importantes mecenas.
Gracias a su apoyo, se produjeron algunas de las obras más importantes de la historia del arte Los Médici, por ejemplo, apoyaron directamente a numerosos artistas y jugaron un papel clave en el florecimiento del Renacimiento italiano Algunos de los artistas que recibieron su apoyo incluyen a: Leonardo da Vinci, Miguel Ángel, Sandro Botticelli y Rafael.
Gisela Romero in her studio
Patronage was not only an act of philanthropy, but also served to raise the prestige and influence of patrons in society By supporting artists and thinkers, these individuals not only contributed to the cultural development of their time, but also strengthened their personal power and legacy Patrons shaped the artistic culture of the Renaissance by engaging artists to fulfill their commissions
In the 21st century, “Maecenas” are better known as “Patrons”; or “Donors” and have evolved, adapting to new economic and cultural dynamics, but their role remains essential for the development of arts, science and innovation Modern patrons include both wealthy individuals and corporations, foundations, and digital platforms that support creators in various ways
In the 21st century, patronage has changed, and it is no longer common for patrons to support individual artists in the direct and personal way that families like the Medici did during the Renaissance Today, support for culture and the arts tends to be more institutionalized, diversified, and often directed toward specific or collective projects rather than individual artists The money for the arts is directed to institutions who in turn distribute the money throughout their structure (institution staff, curators, gallery owners, designers, museographers, art critics, etc.) This entire complex and multifaceted network has ceased to last to the creator from an economic point of view
Increasingly, the artist needs to work on something else to be able to survive, leaving creation aside for the need to make money For artists to create they need stimulation, time, introspection, connection with their own and other people’s emotions, tranquility, silence, space, materials Without financial security it is difficult to create.
El mecenazgo no solo era un acto de filantropía, sino que también servía para elevar el prestigio y la influencia de los mecenas en la sociedad Al apoyar a artistas y pensadores, estos individuos no solo contribuían al desarrollo cultural de su época, sino que también fortalecían su poder y legado personal Los mecenas dieron forma a la cultura artística del Renacimiento al involucrar a artistas para que cumplieran sus encargos
En el siglo XXI los mecenas son más conocidos como “Patronos”; o “Donantes” y han evolucionado, adaptándose a las nuevas dinámicas económicas y culturales, pero su función sigue siendo esencial para el desarrollo de las artes, la ciencia y la innovación. Los mecenas modernos incluyen tanto individuos adinerados como corporaciones, fundaciones y plataformas digitales que apoyan a creadores de diversas maneras
En el siglo XXI, el mecenazgo ha cambiado y ya no es común que los patronos apoyen a artistas individuales de la manera directa y personal que lo hicieron familias como los Médici durante el Renacimiento. Hoy en día, el apoyo a la cultura y las artes tiende a ser más institucionalizado, diversificado y muchas veces dirigido a proyectos específicos o colectivos en lugar de a artistas individuales El dinero para las artes va dirigido a instituciones quienes a su vez reparten el dinero en su estructura (Personal de la institución, curadores, galeristas, diseñadores, museógrafos, críticos de arte, etc.) Toda esta red compleja y multifacética ha dejado de último al creador desde el punto de vista económico.
Cada vez más el artista necesita trabajar en otra cosa para poder subsistir dejando de lado la creación por la necesidad de obtener dinero Para crear hace falta estímulo, tiempo, introspección, conexión con emociones propias y ajenas, tranquilidad, silencio, espacio, materiales Sin una seguridad financiera es difícil crear
“Weirdthingaboutartist: theyliketobepaid.”
“Cosararasobrelosartistas: lesgustaquelespaguen.”
A few days ago, I spoke with a painter who told me that she spent eight hours and sometimes more in a supermarket organizing cans, washing vegetables, collecting cash at the register, cleaning and dealing with customers who were upset about the cost of groceries due to inflation My painter friend has not painted for months. She arrives tired at a free space that an institution provided her with but that she has not been able to take advantage of because she falls asleep.
Someone will surely say that being an artist is an apostolate, that whoever is sincere will continue to be an artist, even if she or he are hungry, but we need financial help because artists pay bills and debts with money, not with applause, nor with spaces, nor with walls of cultural institutions packed with pieces that are sold from time to time
That’s why my question, thinking about the new generations of artists, especially visual artists: Where are the “Maecenas”?
Hace unos días conversé con una pintora que me decía que pasaba ocho horas y a veces más en un supermercado organizando latas, lavando vegetales, cobrando en la caja, limpiando y lidiando con clientes molestos por el costo de los alimentos debido a la inflación Mi amiga pintora tiene meses sin pintar Llega cansada a un espacio gratuito que le proporcionó una institución pero que no ha podido aprovechar porque se duerme
Alguien seguramente dirá que ser artista es un apostolado, que quien lo es sinceramente seguirá siendo artista, aunque pase hambre, pero necesitamos ayuda financiera porque los artistas pagamos las cuentas y las deudas con dinero, no con aplausos, ni con espacios, ni con paredes de instituciones culturales abarrotadas de piezas que se venden de vez en cuando
Por eso mi pregunta, pensando en las nuevas generaciones de artistas, especialmente artistas visuales:
¿Dónde están los mecenas?
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A 1998 book by Amin Maalouf, exploring the identity crisis Arabs have faced since establishing ongoing relations with the West, he incorporates his perspective as a Lebanese Christian
Let’s celebrate the beauty of diversity through music, no matter the language!
Based on the 2016 novel by Amor Towles, "A Gentleman in Moscow" is set in post-Revolutionary Russia, where Count Alexander Rostov is stripped of his title and material wealth and placed under house arrest for life in a grand Moscow hotel It is available for streaming
HowcanonebeGuadeloupean? Perhapsweshouldcultivateourgarden!
BY DOCTOR AKOSUA FADHILI AFRIKA
The Creole garden is a metaphor used in Creole literature to describe the cultural diversity of our region Indeed, the Caribbean basin is a place of cultural mixtures encompassing all the world's influences and origins, whether indigenous, African, European, Indian, or others The concept of the Creole garden is rooted in the reality of domestic spaces where various types of medicinal plants, fruit trees, protective plants, vegetable gardens, and various flowers and bushes are cultivated, functioning in symbiosis and harmony around the family home The family garden, with all these plant species coexisting harmoniously, becomes a reflection of the cultural, spiritual, and physical space of Guadeloupe It is the foundation of the theory of the Creole garden promoted by many thinkers and writers from the Caribbean and beyond. The theory of the Creole garden in West Indian literature is often used as a motif to illustrate how different cultural traditions could coexist, interact, and enrich each other while respecting one another Moreover, by using the motif of the Creole garden as a witness to the salvific value of creating a Caribbean world through the Creole word but also through its anchoring in its Creole space, Guadeloupean authors present themselves as linguistic, cultural, and spiritual architects. They indicate to us that the use of Creole, a vehicle of information, just like the creative space of the Creole garden, would lead to the production of an energy that would give rise to the rooting of Guadeloupeans in the creative Caribbean space of Creole expression. This rooting would allow the manifestation of a Creole "self" in the creative space of the Creole garden, a source of authentic nourishment for the people
In her novel *The Bridge of Beyond*, Simone Schwarz-Bart presents the character Reine Sans Nom, who teaches Télumée, her granddaughter, the vital importance of cultivating a garden Reine Sans Nom's garden includes vanilla pods, coffee beans, pigeon peas, banana trees, root vegetables, oranges, Congo cane, and marigolds These fruits and vegetables represent the wealth of Guadeloupe The vanilla pods characterize the essence and spirituality of the island; the coffee, its strength and intensity; the Congo cane, its tenderness and flexibility; and the beans and root vegetables represent its diversity, its rootedness, and its abundance. These fruits and vegetables aptly illustrate Guadeloupean culinary and cultural Creole identity Most of these fruits and vegetables, like the inhabitants found there, were transplanted to the island from other continents and are a symbol of the multicultural nature of our Afrodescendant societies. By tending to her garden with its multiple origins, Reine Sans Nom encourages Télumée to believe in the vision of a multicultural, spiritual, and harmonious world.
Francophone Caribbean literature offers a rich palette of reflections on nation-building, revealing the different facets of the quest for identity through personal, linguistic, and cultural experiences, using the Creole garden as a prototype
¿Commentpeut-onêtre Guadeloupéen?
¡Ilfaudraitpeut-êtrecultivernotrejardin!
DOCTEURE AKOSUA FADHILI AFRIKA
Le jardin créole est une métaphore utilisée dans la littérature créolophone pour décrire la diversité culturelle de notre région. En effet, le bassin caraïbéen est un lieu de mélanges culturels englobant toutes les influences et origines mondiales qu’elles soient autochtones, africaines, européennes, indiennes et autres Le concept du jardin créole prend donc ses racines dans la réalité des espaces domestiques où sont cultivées diverses variétés de plantes médicinales, d’arbres fruitiers, de plantes protectrices, de jardins potagers et diverses fleurs et buissons, fonctionnant en symbiose et en harmonie autour de la maison familiale Le jardin familial avec toutes ces espèces végétales coexistant de manière harmonieuse devient le reflet de l’espace culturel, spirituel et physique guadeloupéen Il est à la base de la théorie du jardin créole promue par de nombreux penseurs et écrivains de la Caraïbe et d’ailleurs. La théorie du jardin créole dans la littérature antillaise est souvent utilisée comme motif pour illustrer comment différentes traditions culturelles pourraient coexister, interagir et s’enrichir tout en se respectant mutuellement
De plus, en utilisant le motif du jardin créole comme témoin de la valeur salvatrice de la création d’un monde caribéen par le verbe créole mais aussi par son ancrage dans son espace créole, les auteurs guadeloupéens se présentent comme des architectes linguistiques, culturels et spirituels. Ils nous signalent que l’usage du créole, vecteur d’information, tout comme l’espace créatif du jardin créole, entrainerait la production d’une énergie qui donnerait naissance à l’enracinement des guadeloupéens dans l’espace créatif caribéen d’expression créole Cet enracinement permettrait la manifestation d’un « moi » créole dans l’espace créatif du jardin créole source de nourriture authentique pour le peuple.
Dans son roman Pluie et Vent sur Télumée Miracle, Simone Schwarz-Bart nous présente le personnage de Reine sans Nom qui enseigne à Télumée sa petite fille, l'importance vitale de cultiver un jardin. Le jardin de Reine sans Nom comprend des gousses de vanille, des grains de café, des pois d’Angole, des bananiers, des légumes racines, des oranges, de la canne Congo et des œillets d’Inde Ces fruits et légumes représentent la richesse de la Guadeloupe
Les gousses de vanille caractérisent l'essence et la spiritualité de l'île ; le café, sa force et son intensité ; la canne Congo, sa tendresse et sa flexibilité ; et les haricots et les légumes racines représentent sa diversité, son enracinement et son abondance. Ces fruits et légumes illustrent bien la créolité culinaire et culturelle guadeloupéenne La plupart de ces fruits et légumes, tout comme les habitants qu’on y trouve, ont été transplantés sur l'île depuis d'autres continents et sont un symbole du caractère multiculturel de nos sociétés afro-descendantes.
Reine sans Nom, en prenant soin de son jardin aux origines multiples, encourage Télumée à croire en la vision d’un monde multiculturel, spirituel et harmonieux.
La littérature caribéenne francophone offre une palette riche de réflexions sur la construction du pays, révélant les différentes facettes de la quête identitaire à travers des expériences personnelles, linguistiques, et culturelles, utilisant comme prototype, le jardin créole
Art OnTheMove
Find these pieces walking around | Encuentra estas piezas caminando por Lake Eola Park, Thornton Park, Downtown Orlando, Creative Village, and Mills
$30 TWOTICKETS FORONLY
THATMEANSTHE POPCORNSARE ONUS!
Gotothemovies withus!
Enjoy movies with a purpose!
Open Scene is giving you the best reason to head to the cinema. Until October 16, 25% of each Regal Movie Ticket Bundle you purchase will be donated back to Open Scene, when you buy via our fundraising sales page. Treat yourself, your friends, and family to an unforgettable movie night in support of a great cause!
Thatmeansthe popcornisonus—
SOUZANNE ALAYWAN Poetry
Poetry
Poesía
SOUZANNE ALAYWAN
Justice
The night is just: it makes no distinction between sea and sky, between a bird strange to the window and a man strange to his homeland. The night is just in its darkness.
Justicia
La noche es justa: no distingue entre mar y cielo, entre pájaro extraño a la ventana y hombre extraño a su patria. La noche es justa en su oscuridad.
Justice
La nuit est juste : elle ne fait pas de distinction entre la mer et le ciel, entre l’oiseau étranger à la fenêtre et l’homme étranger à sa patrie. La nuit est juste dans son obscurité.
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OPEN SCENE'S PROGRAMS WOULD NOT BE POSSIBLE WITHOUT THE SUPPORT OF GENEROUS DONORS LET'S WORK TOGETHER TO CULTIVATE A VIBRANT AND THRIVING ARTS AND CULTURAL SCENE. LOS PROGRAMAS DE OPEN SCENE NO SERÍAN POSIBLES SIN EL APOYO DE GENEROSOS DONANTES TRABAJEMOS JUNTOS PARA CULTIVAR UNA ESCENA ARTÍSTICA Y CULTURAL VIBRANTE Y PRÓSPERA
“Passport” produced by Teatro Dallas. III FLAE. Photograph by Open Scene
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“Vida” produced by Open Scene. Photograph by Carlos Fuguet