Father Romero

Oscar Arnulfo Romero Galdamez, Archbishop of San Salvador, was born on August 15, 1917 in Ciudad Barrios.  He was assassinated on March 24, 1980 in the midst of celebrating mass.  During the last three years of his life, he devoted himself tirelessly to the service of the poor and oppressed.  This was a significant departure from his earlier career in the priesthood.  He was at that time a different person; he was severe in manner and his spirituality was focused upon the institution of the church, its teachings and dogma.  He did not have any quarrel with the repressive policies of his government.

At that time, the government of San Salvador was under the directorship of General Molina, who led an ultra-conservative right wing government.   Molina was so confident that Father Romero was a man he could deal with that he promoted his candidacy for the office of Archbishop.  The Vatican chose Romero over the apparently more radical Bishop Rivera y Damas.  The radical transformation that would later take hold in Romero's mind would ultimately arouse the concern of the Salvadoran government, the U.S. State Department and the Vatican, for he became an eloquent and charismatic spokesman for the people, especially the downtrodden.

In the final months of his life, his passion for social justice, encapsulated within his pastoral messages, was heard directly throughout Central America, Columbia, Venezuela, Argentina and Uruguay.  His letters and homilies, continue to be translated to this day.

 

On February 3, 1977, Oscar Romero, Bishop of Santiago De Maria, was appointed Archbishop of San Salvador.  This was a crucial appointment for Romero, for the country was in the midst of a wave of government-sponsored repression spawned by an attempt to enact some modest land reform measures.  Molina came to power in 1972 as a result of an election that was considered by many to be fraudulent.  At first, Molina attempted to placate the reformists by approving the First Project for Agrarian Transformation.

Prior to Molina's election, the Legislative Assembly attempted to appeal to the growing demand for land reform from the people of San Salvador by  convening the National Agrarian Reform Congress. At that time, the majority of arable land was in the hands of a small population of wealthy individuals – a pattern that could be found throughout the region.  The goal of land reform was to break the land down into smaller parcels and redistribute it so that a far greater proportion of the population could own and work the land.  The congress included representatives from the government, the opposition, labor, and business groups. The delegates determined that landholdings above a certain size could be expropriated under the nation's constitution; this was a definitive call for expropriation. Although the work of this congress was only to make recommendations, it made the wealthy land owners particularly anxious, especially given the fact that in 1970, the Chilean people democratically elected Salvador Allende, an avowed communist, as their president. 

When Molina was elected – the legitimacy of his election was held in serious doubt -, the dramatic changes proposed by the National Agrarian Reform Congress were essentially abandoned and replaced by proposals that were, in fact, small and not terribly significant.  Nevertheless, the ruling oligarchy felt pressure from the landowners and ultimately cancelled the project entirely on October 19, 1976.  This was soon followed by violent repression.  A significant aspect of the government's reaction was the persecution of the church.

Molina was eventually replaced by General Romero who assumed power on July 1, 1977, and immediately dispensed with any attempt at agrarian reform and openly backed the financial and agribusiness interests.  His regime was marked by harsh repression against those who pushed for reform.  This period was also marked by the rise of the infamous death squads that led to the "disappearances" of great numbers of people.  On November 25, 1977, the Law of Defense and Guarantee of Public Order was passed.  This law legitimized the arbitrary imprisonment of opponents, the use of torture and the suppression of public meetings. 

 

The event that marked Father Romero's transformation, which he personally viewed as a conversion, was the assassination of Father Grande along with his two companions as he was on his way to celebrate mass.  This event represented an attack on the pastoral approach of the church with its preference for the poor, for Father Grande had been a key figure in the movement for apostolic renewal in the archdiocese – a proponent for the application of Vatican II to the Salvadoran church.

The Second Ecumenical Council of the Vatican, or Vatican II, was the twenty-first Ecumenical Council of the Catholic Church. It opened under Pope John XXIII on October 11, 1962.  At that time the Catholic Church was faced with a world in a state of flux where dramatic social, cultural and economic changes were occurring throughout human societies.  Pope John made it clear that it was time for the church to adapt to the new world.  As a result, Christians outside the church were encouraged to send observers to the Council.  This unprecedented action was met by universal approval.

Following the disturbing news of the assassination of Father Grande, Romero began to speak out eloquently for the poor and against repression.  He once stated that, "These days I have to walk the roads gathering up dead friends, listening to widows and orphans, and trying to spread hope."

 

We will examine in some detail the contents of three of his pastoral letters that provide clear insights into his thinking.  The first pastoral letter entitled, The Easter Church was written on April 10, 1977.  It was essentially Romero's way of introducing himself to his people.  In this letter, he embraced Liberation Theology that was inspired by the conclusions reached by Vatican II.  In it, he quotes from a meeting of the bishops of Latin America in 1968.  "We are on the threshold of a new epoch in the history of our continent.  It appears to be a time full of zeal for full emancipation, of liberation from every form of servitude, of personal maturity, and of collective integration.  The church cannot be indifferent when faced with a muted cry that pours from the throats of millions of men, asking their pastors for a liberation that reaches them from nowhere else."  He goes on to say, "Hence, when preaching liberation and associating ourselves with those who are working and suffering for it, the Church is certainly not willing to restrict her mission only to the religious field and dissociate herself from man's temporal problems."  This represents a significant statement with powerful political implications, and obviously posed a significant threat to the established order.

The second pastoral letter entitled, The Church, the Body of Christ in History deals essentially with what Romero perceives to be the church's contemporary mission.  In it he states, "The church looks upon the world with new eyes, it will raise questions about what is sinful in the world, and it will also allow itself to be questioned by the world as to what is sinful in the church."  He goes on further to state, "This preference of Jesus for the poor stands out throughout the gospel.  It was for them that he worked his cures and exorcisms; he lived and ate with them; he united himself with, defended and encouraged all those who, in his day, were on the margin of society, whether for social or for religious reasons: sinners, publicans, prostitutes, Samaritans, lepers.  This choice of Jesus to be with those who are marginalized is the sign that he gives to confirm the content of what he preaches: that the kingdom of God is at hand."  With this statement, Romero clearly establishes his affinity for the poor and marginalized, and proclaims an activist mission.  This kind of declaration was particularly disturbing to those in power.

Finally, in his third pastoral letter entitled, The Church and Popular Political Organizations, Romero clearly aligns himself with political organizations seeking social justice; these were the same organizations that were under attack by the security apparatus of the State.  In this missive, he unambiguously states that, "We want simply, in this section, to restate the right to organize and to denounce the violation of that right in our country."  Furthermore, he denounces the use of violence, especially against those who seek to organize in response to the repressive policies of government.  He also takes issue with violent conflict between various campesino groups clearly taking a stand for peace and against violence regardless of the perpetrators.

 

The power of his ideas resonated not only with the poor of San Salvador but throughout the region.  He was perceived as a real threat to the established order and was ultimately silenced for his activism.  His words, however, still live on, and his message continues to resonate within the hearts and minds of those who suffer at the hands of the powerful.

Chesterville Secondary School Workshop





By Thireshni Sanasy

The first Art and Social Justice workshop hosted by Art for Humanity at the Chesterville Secondary school on the 12 October 2011 proved to be a great success.

The Workshops which are an annual event, was funded by the eThekwini Municipality for Celebrate Durban which is a festival hosted by the Municipality for Heritage month. The Art and Social Justice workshops which were previously called the School Banner workshop, consists of a large banner being posted on the schools building. At Chestervill Secondary the banner consisted of the artwork by Joseph Madisia and poem by Luness Mpunwa both entitled ‘The Sound of the African Drum.’

The workshop began with AFH Director Jan Jordaan giving a brief introduction to the 36 learners who participated in the workshop. The learners ages varied from 13 to 17 all belonged to Grade 9. Malethu Langa, a facilitator at the workshop and 4th year fine art student at the Durban University of Technology addressed the learners on the power of art and poetry and how through the medium of art, human rights can be advocated. Eugene Raphalane from the South African Human Rights Commission then took the floor, informing the learners in their home language (Zulu) about their rights and how they have a responsibility to not only know their right but also respect them. The interested learners had many questions for Raphalane and were keen to learn more about their rights.

Learners were taken outside to where the banner was placed, where workshop participant, Nosipho Khomo (16) recited the poem to the audience followed by Poet Topaz who began interacting with the students to hear their views on the message portrayed through the ‘The Sound of the African Drum.’ Learners were not afraid to voice their opinions; one learner pointing out that the sun in the image could be used as a metaphor for ‘The light at the end of the tunnel’ as the artwork symbolizes the unity of Africa.

The students were then taken back to the classroom and split into two groups of 18 where one group did drawing whilst the other wrote poetry, after 15 minutes, the groups’ swapped activities. During the workshop AFH Journalists, Thireshni Sanasy and Njabulo Ngobese interviewed, photographed and filmed the learners. The workshop allowed the learners to freely express themselves and their work varied from the portrayal of their own emotions to social injustices that worry them. Arts and Culture educator at Chesterville Secondary Mrs Thipe, said, “I think this kind of workshop will allow the learners to express themselves in art and poetry. Learners need to be skilled in poetry and art, it is vital. They have to design whatever elements there are in poetry and art so that their own feelings can be expressed through the different mediums.”

During the workshop learners seemed eager to express themselves, and many enjoyed the activities given to them. 15 year old Smangale Shezi wrote a poem entitled ‘The motivation’ expressing her own values and writing about the effects of motivation on an individual and the necessity of it in a person’s life. Shezi said, “I like motivating those around me because I am very motive and I know its power.”

Other learners focused on the negative aspects that effect human society such as HIV/AIDS. 14 year old Sbusiso Zungu wrote his poem on how it is vital for people to be aware of the epidemic. “I want everyone to be informed about HIV Aids. People have a choice.” Zungu added that he thoroughly enjoyed the workshop and had learnt about how important freedom is from the banner placed on the school building.

During the workshops students also took the drawing aspect seriously, and many drew images that had a deeper meaning or metaphor. was about the fact that South Africa is being “sold” to other countries and that injustice is rife among us. Shinga said, “I chose to draw about the African Nation because we just experienced Heritage Day and money deals with the African Nation being sold to other countries which isn’t something any African person would feel good about.” Mondli Magaqo (16) also decided to draw about South Africa. Entitled “Vuka Afrika Shaya Izanla” was an image of the sun, a hut, a river and the mountains. Magoqo said that it was a metaphor for the fact that when the sun rises, light comes in and people need to wake and go to work, Magaqo said, “I drew the sun because lots of people need to go to work, and it is the sun that brings in a new day, so a new day of work.” He added that he got his inspiration of the picture from “The Sound of the African Drum” by Jospeh Madisia on the school banner. “Just like the sun brings in light on the banner picture, the sun in my picture also brings light and a new day.”

The learners then presented their work to the class. 8 of the learners individually took to the stage and presented their art to the class, whilst reciting their poem. The depth of which the learners wrote was indescribable. 17 year old Snethemba Lukshozi presented her poem, instilling the belief in her fellow class mates, that ‘love has no shame’. Nonjabulo Zondi (15) was passionate in her presentation of the importance of a person’s name, and how she is and always will be proud of her own name.

The workshop concluded with Topaz reciting more poetry to an audience of awed learners.

To view more information on the artwork/poetry presented on the banner, please follow the link here http://www.afhsaportfolio.co.za/joseph-madisia-artist-and-luness-mpunwa-mhlope-poet-namibia/


Mowart Park School Workshop




By Njabulo Ngobese

Freedom defined through art and poetry were the shared sentiments of AFH (Art for Humanity) director Jan Jordaan, whose introductory speech to the 32 Mowart Park Girls that attended the Art and Social Justice Workshop kick started the day’s activities on a high note. Accompanied by the Human Rights Commission representative Eugene Raphalane, the message of freedom was further elaborated with a brief talk on responsibilities. The thin line between one’s right to express themselves and that expression being offensive to the next person was highlighted in Raphalane’s speech with a bold example he made of the Julius Malema situation with the “Kill the Boer” song.

AFH poet Topaz then took over as the 32 attendants of the Art and Social Justice Workshop were led to the banner displayed on the school wall where he engaged them in the analysis of the art and poetry of Louise Almon (artist) and Myesha Jenkins (poet). After reading the displayed poem simultaneously, words of encouragement from Topaz graced the Mowart Park participants as they geared up to display their artistry through their imagination whilst having fun at the same time.

It was all systems go when the workshop participants engaged in their given tasks of drawing a piece of art and writing a poem that represents it (vice versa). Zizipho Gwilika, a grade 8 learner was the first to have her work on display. With a subject matter she claims keeps her motivated, Love, Life & Legacy was the name of her piece. Linking creativity and reality, Zizipho describes her offering as a balance between seriousness and fun whilst the two are embedded together to represent a message of enlightenment. Grade 11 student Nombulelo Myeni was next on the list as she allowed the stretch of her imagination to paint a picture perfect tomorrow with her ideal husband. “I’m constantly thinking about the future”, says the 17 year old future star who further elaborated on the school workshop as a “source of great inspiration”.

The third piece of art and poetry came from Fikile Mthembu titled None Sense. “I’m free to make a total idiot of myself through art and not be judged”, the noted sentiments in Fikile’s thought provoking piece. Her complex word play made for an interesting read as the audience was left astounded by the 16 year old’s mature pen sliding skills. Nosipho Gcina closed off the presentations with a piece about a broken heart of a young African girl. She simple stated “It was just a thought” when a question was posed about her work. Nosipho further elaborated by commanding the workshop for helping them in their levels of improvisation as far as combining art and poetry.

Most of the participants in the workshop were enthused by the banner displayed on the school wall as it showed them the relationship between art and poetry and how the two relate to one another. All presentations lived up to excellence as the words of encouragement from AFH clearly played their hand in motivating the girls to outdo themselves. English and Art teacher Mrs D Reddy had positive things to say about the involvement of her students in the Art and Social Justice Workshop as she commanded the girls on their enthusiasm and ability to give out their best in any given task.

Topaz then delivered a poem that sparked up levels of excitement amongst the students as they requested for another one. Not known for falling short of excellence, he effortlessly breezed through his second poem as a huge standing ovation from the Mowart Park workshop participants followed.

Jan Jordaan concluded the workshop as he shared his joy and excitement on the success of the day’s events. 16 year old Nosipho Gcina gracefully gave thanks to AFH for their contribution to the school’s calendar.

For more information on the artwork & poetry presented on the banner please click on the link here http://www.afh.org.za/index.php?option=com_content&task=view&id=26&Itemid=65