Hello. Thank you guys for coming out and listening to my talk today. We’re going to talk about the UndocuQuer movement. So we have to first understand that fear is felt differently by different people. In relation to how we rate fear to a space, a mobility, a proximity, and it’s a common misconception that people who are the most afraid are the most vulnerable. What if it was the complete opposite? What if vulnerability was a permanent part of someone’s existence? So within our media, we see stories that create and focus on producing ideas and practices of difference and conflict. And within these sensationalized single stories, we fear this fear, this imminent danger, this imminent perceived threat that we’re having in our normal lives. And in these stories, we start to think about how we associate fear. And that one way we might start changing our behavior and our ideas and engaging in more oppressive or discriminatory practices, we start using the dehumanizing language of a year in the media. And overall, what we end up doing is shrinking somebody’s person’s humanity. And how that is perceived says a lot about how our society works, how we avoid these feared bodies, and how we force those bodies to take up less space socially, politically, and physically. So within our current debates about US immigration and yellow GBT rights and issues, we have tried to address and understand the practices and policies that focus on citizenship and human rights. But at the same time, when we have these conversations, we typically forget and render the people who are the feared deviant bodies and absorb them into our mainstream society. So parents of discrimination tend to focus and emerge and focus on white, heterosexual cisgender male bodies. And full citizenship remains elusive for those who are brown, black, queer, and trans. And so within this invisibility of undocumented and queer bodies, our stories tend to focus on different issues. And we start to create this imagined queer migrant murderous threat that we see in our society. And we start creating this issue of the health of the imagined national body within our country. So in order to resist this assimilation and create an increased invisibility, the DACU queer movement has emerged. So since 2008, artists and activists like Julio Siddago have created a space where marginalized verses can be heard. And within this movement, we see street art on the streets of California, and we see images being distributed on social media that really talk to us about the experience of what it means to be undocumented and queer. Within Siddago’s work, he focuses on and really emphasis this theme of what it means to come out, this dual process of coming out as undocumented and as well as queer. And we see these images emerge in his artwork as he starts to create understandings about what that process might be seen in a visual culture or within visual politics. So in this first image, you’ll see, you see, this is a self-portrait of Siddago. He’s literally hanging by his humanity above the border, the U.S. and Mexican border. We see blood on the American flag. We see his body. On the other side, we see the rainbow flag. And we see this exposed understanding of what it means to be vulnerable and being hanging by one’s own existence. In other artwork, we see, again, Siddago emphasize the faces and the brown and black faces in this movement. So highlighting the process or seeing this photo, we see somebody being taken into custody by state authorities ICE. And we see the comparison of the individuals being taken in versus the very blank white faces of state-sanctioned violence. And another example of, again, talking about the undocumented experience, talking about labor, talking about these narratives that we hear of migrants being low skilled. And really in this artwork, in celebration of International Workers Day, Siddago is really talking about the migrant power and how, and really giving a face to what we see that maybe is not seen in our mainstream media. Also, within his work, Siddago tends to blur the lines of sexuality and intimacy and relationships by highlighting brown and black individuals in a more human existence, showing them that they can love, that they have this non-deviant status as well. And predominantly of all this work that’s done by Siddago, it forces us to acknowledge how systems of power work. And in conjunction, not only to how brown and black and trans and queer individuals work, but really who is this visual storytelling, who’s telling those stories. So my call to our, my future communicators and my communicators in the audience, is really understand how we can create this master narrative within media. And how do we show the complexity of those networks? How do we show the intersections of people’s identities that truly we can show that not everybody’s experience is the same? How can we address issues and bring back humanity to people who truly have this vulnerability and a constant status because of the fear that it is to be them? And as well, exploring different types of artistic expression and activism within our landscape. Thank you very much.