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Appears book "The libertarian origins of May Day: Chicago to Latin America 1886-1930" Recovering the history

(Article taken from www.anarkismo.net)

result of an effort by researchers from several Latin American countries, has published this book to rescue the historical memory of the influence of element libertarian in the early Latin American labor and union movement and the struggle for reducing the workday to 8 hours daily. The linchpin of this story what is the First of May as the date flagship joint working and joint protest movements in each country with the international movement. It has sought to explain and understand the origins of symbolic day of protest by workers and the impact that this commemoration was on the libertarian movement in countries throughout the continent.

sheet:

libertarian origins of May Day: Chicago to Latin America (1886-1930)
José Antonio Gutiérrez D., compiler
Several authors

Man and Editorial Society, Self Editorial Quimantú initiative,
Collection Kits Paper / Paper Series Lustre, Santiago de Chile, 2010

Index

I.

* Presentation Editorial Quimantú
* By way of introduction, José Antonio Gutiérrez D.
* The Chicago Martyrs: The Story of a crime on earth kind of "democracy and freedom", José Antonio Gutiérrez D.

II. May Day in Latin America

* The first May 1st in Latin America: Argentina and Cuba (1890)
o 1 º de Mayo in Argentina, Fernando López Trujillo
o May 1, two opposing interpretations, "La Protesta Humana"
or precursors of May 1 in Cuba (the first day, Havana 1890), Frank Fernandez
* On 1 May and the struggle for eight hours in Uruguay
or Origins of the Uruguayan labor movement and the influence of anarchism (Period 1865-1919), Newspaper Red and Black
* Anarchism and May 1 in Brazil, Milton Lopes
* On 1 May in Mexico, the triumphant defeat of the proletariat, Brenda Aguilar
* May 1, 1899: Anarchists and the origin of the "day of worker "in the Chilean region, Víctor Muñoz C.
* On 1 May and the anarchists in Peru, Franz García Uceda
* Anarchism and May 1 in Ecuador, Carlos Pazmino
* Easter Red in Costa Rica: Anarchism and the May 1, 1913, José Julián Llaguno Thomas
* The origins of May Day in Colombia and the influence of anarcho-syndicalism, Research Center for Libertarian and Popular Education
* historical contribution of unionism anarchist in labor history in Bolivia, Anarchist Militant Organization for Social Revolution (OARS)

III. Appendices

* Manifesto IWPA workers in North America (Pittsburgh Proclamation)
* A vagrants, the unemployed, the destitute and miserable, Lucy E. Parsons
* The Purpose of the Social Revolution, Albert Parsons
* AR Parsons on the Eight Hours Movement, March, 1886
* What is Anarchy?, Albert Parsons
* Go ahead with courage!, August Spies
* blood has flowed!, Michael Schwab
* Revenge!, August Spies August
* Address Spies in the Haymarket Square (May 4, 1886) * Speech
Johann Most in the anniversary of the execution Martyr's Chicago (1894)
* Letters of the Martyrs of Chicago
* Memories of Lucy Parsons

IV. Photographic

Snowboarding Rail Blueprint

for class Worker Interview with Mario Rojas

(Review of Gabriel Rivas, published in www.anarkismo.ne t)

Throughout his more than three hundred pages, the book traces the many moments that were shaping the history of May Day in South America (which makes up the vast majority of the book) and North (thanks to a remarkable work of the compiler of the text). Along with the precious data, lengthy narratives and everything that makes this book a true contribution to historiographical interest, brings a strong militant placing it in a place unlike any other contribution.

"Our ancestors were not only taught us that violence is justified against despots, as the only means left to us, but we have given themselves an immortal example." That relates in part manifest Pittsburg, dated 1883-and that includes as an appendix to this paper-, three years before the general strike on May 1 and represented the most determined political platform of the American labor movement for those dates, and that prompted workers' struggles for several years in that region. Today, that same proclamation invoking the force of a past waiting to be done, makes sense for the protagonists of the various First of May throughout the Americas (North and South) and echo back through this publication.

In an unprecedented effort, thanks to the comrades of the Red Lion Press in Canada and especially the colleagues of the Federazione dei Comunisti Anarchici and the Centro di Documentazione Franco Salomone (both Italian organizations), the Chilean publishing Quimantú , Man and Society and Free Initiative have launched a movement this tribute to the many working-class fighters who perished in the wheel of history in this ceaseless struggle of labor against capital.

Throughout his more than three hundred pages, the book traces the various stages that were shaping the history of May Day in South America (which makes up the vast majority of the book) and North (thanks to a remarkable job compiler of the text.) Along with the precious data, the neat stories and everything that makes this book a true contribution to historiographical interest, brings a strong militant placing it in a place unlike any other contribution. All participants in this work are active militants in the various popular movements in their countries. USL's brothers (Peru), FARJ (Brazil), Red and Black (Uruguay), Mexico Anarchist Black Cross, Children's Village (Ecuador), Revista La Libertad (Costa Rica), OARS (Bolivia), CILEP (Colombia) , and as Lopez Trujillo Muñoz VM Argentina and Chile, all of them, in their way, are part of a militant group and commitment to the resurgence of a revolutionary alternative in their respective countries, with a strong libertarian stamp.
militant
This same charge makes it clear that, to paraphrase J. Most, this book was not written to "mourn over the grave of the martyrs of the proletariat, because it does not matter for the revolucionarios”, sino que ha sido escrito “para levantar aquella bandera a cuya sombra combatieron, lucharon y se sacrificaron los que aquí yacen recordados, y a la que permanecieron fieles hasta la muerte”.

Hoy, en tiempos que el neoliberalismo no sólo causa estragos en la calidad de vida de los trabajadores y demás sectores que conforman nuestros golpeados pueblos latinoamericanos, sino que además vacía la memoria de lucha anti-capitalista que caracterizó al movimiento obrero que nos precedió, este libro emerge como un pequeño ejercicio de memoria colectiva, nos vuelve a hacer parte de un largo y delgado hilo rojo que recorre nuestras accidentadas experiencias como clase obrera y nos recuerda, essentially, that nothing that the working class is now established as a right has been a gift, but all progress, all guard against the capitalist class has been the fruit of their struggle, their blood and their dead.

Another aspect of this publication is that, unlike traditional historiography and not so traditional, claims the right place for anarchists in the labor history. Throughout its eleven essays, this remarkable publication restores the deserved recognition anarchist lines have been developed over the history of modern exploited class and show it what it is: a bet real program of radical change, born the bosom of the working class, as its most settled and that, after decades of authoritarian exchange betting is all the more vigorously than ever.

addition, the book has an excellent photographic archive that helps us a much more vivid idea of \u200b\u200bthe context. But perhaps as important as historical essays, is the appendix containing the publication, consisting of twelve handwritten texts of important libertarian activists such as Lucy Parsons, J. A. Most and the same Parsons, among others, which contribute not only to clarify the ideas that nourished the labor movement then, but they are a potent source of anti-capitalist slogans that have not lapsed, and summaries master anarchist ideology.

With all these elements, libertarian origins of May is presented as a significant contribution to the popular libertarian movement today, as ever, must take tough battles, not only because of the possibility of historical memory to have a truer picture of himself, but to reconstitute themselves as a historical force to forge a definitive alternative to capitalist barbarism that today as in times of Albert Parsons, August Spies, George Engel, Louis Lingg and Adolf Fischer, all of them martyrs the struggle of the workers, no longer drag an untenable situation and we forced to seek a revolutionary and definitive.

Carolina Student Guide Laboratory

, author of The Oedipus tango Know feat

Mario Rojas: "There are stories to form the map of another Chile"

By Mark L. Moraga / The Nation

"I have a problem. Or at least I think it's a problem, "says musician Mario Rojas, rubbing his temple, seeking an explanation for evil. "Every time I finish a job, no matter what the best types have participated and everyone tells me is beautiful. Me is a gap and I have to get into something else. I find it hard to promote. I do little and badly, "he explains.

and is a key factor to understand the latest addition to its signature above: the reissue of the Oedipus Tango, the book published Rojas twenty years under the seal of the former Editorial outbursts, now recovering in the hands of Quimantú life (see box). "When I wrote it had zero bias. He had lived many years outside and had a strong disconnect with Chilean literature. He had no shame. I felt free to write whatever he wanted. Then I was inserted in the national reality in the readings, critique. And I went achunchando "he says.

Without modesty

The story behind the lines 's tango Oedipus is known. In the late eighties, Rojas was part of the first life of the band De Kiruza, sharp tongues of the national proto-rap. The book was written between 1989 and 1990 in the months that Mario Rojas returned to Chile from exile and frequented the offices of the magazine Trauko , where the officiating of script writer and editor.

"I wrote this so influenced by Peter Foncea as Uncle Roberto Parra. It was clear, then and now, that belong to that class of writers accursed as' Chicago Chico ', Armando Méndez Carrasco,' The River 'by Alfredo Gomez Morel or' La Negra Ester ", or it was contemporary with Peter and Mauritius Lemebel Redolar "says Rojas. "It was like saying, 'you heard of this, this is another Chile. Here are a few stories to make this map, which is not shown, but it is highly interesting '. "

Rojas made "some changes of form only" the book he published in 1990. Retained the prologue gave Roberto Parra, adding another voice to the protagonist of Oedipus Tango. And he has prepared the sequel, "The success of Pablo Figueroa." But again grabs the temple: "O you concentrate on something or dreamed. If it brings conflict this to be a singer, promoter of the cueca, director of a website, a documentary director, writer appear only three times the confusion. Was stuck the book, but it's out. "

Mark L. Moraga
"I have a problem. Or at least I think it's a problem, "says musician Mario Rojas, rubbing his temple, seeking an explanation for evil. "Every time I finish a job, no matter what the best types have participated and everyone tells me is beautiful. Me is a gap and I have to get into something else. I find it hard to promote. I do little and badly, "he explains.
and is a key factor to understand the latest addition to its signature Above: the reissue of "The Oedipus tango," the book that Rojas published twenty years ago under the seal of the former Editorial outbursts, now recovering in the hands of Quimantú life (see box). "When I wrote it had zero bias. He had lived many years outside and had a strong disconnect with Chilean literature. He had no shame. I felt free to write whatever he wanted. Then I was inserted in the national reality in the readings, critique. And I went achunchando "he says.
Against nature of the author, no release. "The Oedipal tango" will be presented Saturday at the Sala SCD Bellavista (Santa Filomena 110), and then engage with a live concert by the musician with his band The Flaiting Project. It will be the occasion of the first DVD and live concert recorded in his career Rojas. Shamelessly

The story behind the lines of "Oedipus Tango" is known. In the late eighties, Rojas was part of the first life of the band De Kiruza, sharp tongues of the national proto-rap. The book was written between 1989 and 1990 in the months that Mario Rojas returned to Chile from exile and frequented the offices of the magazine Trauko, where the officiating of script writer and editor.
"I wrote this so influenced by Peter Foncea as Uncle Roberto Parra. It was clear, then and now, that belong to that class of writers accursed as' Chicago Chico ', Armando Méndez Carrasco,' The River 'by Alfredo Gomez Morel or' La Negra Ester ", or was contemporary with Peter Lemebel Redolar or Mauritius, "says Rojas. "It was like saying, 'you heard of this, this is another Chile. Here are a few stories to make this map, which is not shown, but it is highly interesting '. "
and start another journey. He shared the stage with Parra, Nano Nuñez, with amongst locals. Was assembled as a soloist and leader of The Flaiting Project. Www.cuecachilena.cl founded the site and since then has seen the conversion of the genre: "I feel the cueca is finally returning to the context of popular music." Rojas
made "some changes of form only" the book he published in 1990. Retained the prologue gave Roberto Parra, adding another voice to the protagonist of "The Oedipal tango." And he has prepared the sequel, "The success of Pablo Figueroa." But again grabs the temple: "O you concentrate on something or dreamed. If it brings this conflict to be a singer, promoter of the cueca, a website manager, director of a documentary, to appear triples as a writer only confusion. Was stuck the book, but it's out. " LN

Mark L. Moraga

"I have a problem. Or at least I think it's a problem, "says musician Mario Rojas, rubbing his temple, seeking an explanation for evil. "Every time I finish a job, no matter what the best types have participated and everyone tells me is beautiful. Me is a gap and I have to get into something else. I find it hard to promote. I do little and badly, "he explains.

and is a key factor to understand the latest news by signing up: the reissue of "The Oedipal tango," the book that it published Rojas twenty years under the seal of the former Editorial outbursts, now recovering in the hands of Quimantú life (see box). "When I wrote it had zero bias. He had lived many years outside and had a strong disconnect with Chilean literature. He had no shame. I felt free to write whatever he wanted. Then I was inserted in the national reality in the readings, critique. And I went achunchando "he says.

Against nature of the author, no release. "The Oedipal tango" will be presented Saturday at the Sala SCD Bellavista (Santa Filomena 110), and then engage with a live concert of the music accompanying his band The Flaiting Project. It will be the occasion of the first DVD and live concert recorded in his career Rojas.

shamelessly

The story behind the lines of "The Oedipal tango" is known. In the late eighties, Rojas was part of the first life of the band De Kiruza, sharp tongues of the national proto-rap. The book was written between 1989 and 1990 in the months that Mario Rojas returned to Chile from exile and frequented the offices of the magazine Trauko, where the officiating of script writer and editor.

"I wrote this so influenced by Peter Foncea as Uncle Roberto Parra. It was clear, then and now, which belonged to that class of writers accursed as' Chicago Chico ', Armando Méndez Carrasco,' The River 'by Alfredo Gomez Morel or' La Negra Ester ", or was contemporary with Peter and Mauritius Lemebel Redolar" says Rojas. "It was like saying, 'you heard of this, this is another Chile. Here are a few stories to make this map, which is not shown, but it is highly interesting '. "

and start another journey. He shared the stage with Parra, Nano Nuñez, with amongst locals. Was assembled as a soloist and leader of The Flaiting Project. Www.cuecachilena.cl founded the site and from there has been the conversion of the genre: "I feel the cueca is finally returning to the context of popular music."

Rojas made "some changes of form only" the book he published in 1990. Retained the prologue gave Roberto Parra, adding another voice to the protagonist of "The Oedipal tango." And he has prepared the sequel, "The success of Pablo Figueroa." But again grabs the temple: "O you concentrate on something or dreamed. If it brings this conflict to be a singer, promoter of the cueca, director of a website, a documentary director, writer appear only three times the confusion. Was stuck the book, but it's out. " LN

Quimantú, by age 40

Edip's tango or was published by Editorial Quimantú, it founded the Popular Unity government in 1971 after the nationalization of Zig Zag, with the idea of \u200b\u200bhaving books at popular prices. Next to the Red Book, recent developments meet names like Hernan editorial Viluñir ( Inhabitant unfinished), Wobblies men, ideas and problems of anarchism in the twenties, Victor Muñoz, among others. A story also adds the limelight on the subject of the documentary "The Burning": the only Chilean film within the jurisdiction of the Film Festival Buenos Aires (Bafici), an event that last night the curtain fell. In the film, the director Rene Ballesteros recorded his investigation by the memories of his mother Margarita, all gone through the history books Quimantú.