Nicaragua in the 1980s

Here are other works by Nina Serrano on Nicaragua in the 1980s.

After the Earthquake/Despues del terremoto

Making After the Earthquake/Despues del terremoto

It was sometime around 1977 or `78 when Lourdes Portillo and I saw a short documentary film about Central America showing a Mary Knoll house building project in Nicaragua filmed by Father Miguel Descoto. We were moved by the poverty and problems of Nicaragua, as we sat among a handful of viewers in San Francisco’s Mission district barrio.

As one thing always leads to another, Lourdes and I decided then and there that we needed to make a film about Central America. Ours would be about our own reality, set in the Mission District with its Central American exiles and immigrants coming to San Francisco daily. We decided to make it a fictional film and as feminists we didn’t even have to discuss the role that women would play in our film. We knew the protagonist would be a young woman immigrant working as a maid, and the film could be used as a consciousness raiser.

Leading Lady of After the Earthquake

Leading Lady of After the Earthquake

At the time, Latin America was in upheaval with a revolutionary civil war taking place in Nicaragua, and horrendous repression in El Salvador and Guatemala. Argentina was run by murderous generals as was Chile. Our neighborhood reflected this with the ground swell of new Latin American immigrants, especially Central Americans. We ourselves and all our friends were supporting the Sandinista led revolutionary movement in Nicaragua. It felt very natural for us to write our fictional story. To universalize the story, we created a pan-Central American identity to the characters and their lives, inventing towns, and volcanoes that could not be pinpointed to a specific Central American country. We agreed on about 14 main points we wanted to cover and met a few hours each day to develop a dramatic script and then write a proposal for grant funding for the film production.

When the proposal and script were finally ready, I picked the pages up from the typist, since this was before computers and neither of us knew how to type. I got on the BART train, which is our Bay Area Rapid Transit System, and fell asleep. I woke up quickly at my stop. As the train pulled away I realized I’d left the only copy of the script and proposal on it!

There was hell to pay. Lourdes hit the roof. Luckily, I was able to retrieve it from the BART Lost and Found Department the next day, turned in by a train cleaner. To this day I am grateful to this person. We were awarded the grant and produced the film in 1979. It was shown at many film festivals, won an international film festival award in Poland and was broadcast on countless U.S. public television stations nationally. Lourdes and I traveled by plane and train across Europe to receive that award in Krakow, Poland.

One day, decades later, we were invited to a Stanford University class studying this film. The bright young students were filled with questions. One girl raised her hand to ask, “Where did you get the idea for the TV salesman to kiss the protagonist’s hand?” I laughed, “We didn’t. It was not our idea.” We used improvisation as well as our scripted dialog. The actor was my friend, Don Norton, a notorious ladies hand-kisser, who came up with it himself. I had to smile thinking how pleased Don would have been if he had thought that one day people would take note of his hand kissing. Here is a clip of those pivotal scenes in which the protagonist, Irene, buys a TV set which triggers the rest of the film’s events. To obtain the 27 minute film go lourdesportillo.com or ninaserrano.com.

 

Back from Nicaragua

Nicaragua Way by Nina Serrano. Buy Book Now small

The Story of Making Back from Nicaragua

Nina Serrano in Back from Nicaragua, 1983.

Nina Serrano in Back from Nicaragua, 1983.

In October, 1983, my daughter Valerie Landau and I decided to make “Back from Nicaragua” upon hearing the news of the US invasion of the tiny Caribbean island of Granada. It filled us with fear for the fate of the nearby revolutionary Nicaragua, where the Sandinista revolution had triumphed in 1979. Upon her college graduation that same year, Valerie had gone off to Nicaragua to join the newly formed youth literacy brigades to teach the rural population to read and write. When she returned a few years later, we teamed up to make a mainstream video that could be shown nationally to bring understanding and support peace in Central America. We had no money. Valerie was a single mom with a baby and I was a poet with a part time job teaching job. What to do?

Pete Seeger from Back from Nicaragua

Pete Seeger in Back from Nicaragua, filmed in Nina Serrano’s San Francisco living room, 1983.

I got Pete Seeger’s phone number and asked him and his wife Yoshi if he would participate in our film for which we had no script, equipment crew or money yet. Wonderful dreamer that he is, he said “Yes.” Mainly because my son, Greg Landau, who also had gone to Nicaragua to support the Sandinistas and who is a musician, had served as Pete’s translator and accompanist for his music tour of Nicaragua.

I found the camera person when, as an activist, I joined a small Council of Churches delegation that was going downtown to visit the Chilean Consulate to protest the cruelties of the Pinochet coup against the Chilean poor. The consulate staff panicked at the news of our arrival and shut off the lights and locked up. When we arrived upstairs at their door, we found a lone cameraman, Julio Moline, from a local public TV station in San Jose.

Well, as one thing leads to the next, as we stood in the darkened hallway I told Julio about our Nicaragua Film project.  How it would cover the Nicaraguan musical tours of US artists like Pete Seeger, Holly Near, Joan Baez, and the Looters. Right there and then, Julio agreed to be the cameraman and to discuss it with his station to see if they would support the project.

Well, as one thing tends to lead to another, it did and we did. I contacted the “talent” and Valerie and Julio did the day to day editing and production work. We filmed Pete Seeger in our SF Living room and my friend and neighbor Judith Knoop brought over freshly squeezed orange juice to keep Pete going through the long shoot. We used his interview for the film opening and closing. Holly Near invited us to her apartment. Joan Baez gave us permission by phone to use her previously recorded materials. The Looters and the Reverend Don Chase were glad to participate.

American friends, working in Nicaragua, like Nora Roman, Daniel del Solar and my son Greg Landau, helped us to obtain the wonderful footage from the Sandinista TV station.  So here are the sights and sounds from beautiful volcanic, revolutionary Nicaragua – and the music of some of our finest musical artists of the time.

Watch the video and enjoy!