29.4.16

Wojciech Cejrowski: Mate en Polonia (Corina Moscovich)




Cuando viajé a Polonia en Junio de 2015, confirmé algo que sabía pero que me presentaba ciertas sospechas: muchos polacos toman mate.

Sí, es verdad. Nunca dudé del porqué ya que el mate es una bebida natural con propiedades mayormente positivas. Lo que me intrigaba era saber cómo el mate llegó  a Polonia.

Y entonces Pawel M., un Couchsurfer de Cracovia me ayudó a develar el misterio. Me llevó a un lugar donde venden yerba mate. Sinceramente, el negocio es conocido solo para los expertos en mate, lo cual transforma al espacio en algo casi secreto. Es un departamento dentro de un edificio y el acceso no es fácil.

Una vez que ingresamos, un segundo Pawel (quizás el nombre masculino más común en Polonia), a cargo de las ventas, me dio un dato que yo desconocía: Wojciech Cejrowski. Me contó que éste trotamundos descubrió en uno de sus  viajes el mate. Y de ahí no lo dejó. Y no sólo eso, sino que la gente de Polonia sintió curiosidad por probar el mate. Y así la infusión verde comenzó a tomar una popularidad que con los años solo va en ascenso.
Además de viajero, Wojciech es periodista de radio y televisión, escritor, publicista y fotógrafo. Seguramente todas sus actividades van acompañadas de mate… 
Lo gracioso es la forma en que éste buen pastor usa la bombilla: parece más una foto de Popeye con su pipa que alguien tomando mate. Y aparentemente, le encanta usar camisas de estilo hawaiano...
Wojciech tiene una página  http://www.cejrowski.com/en/ Allí comparte sus viajes y promociona sus libros, además de mostrar fotos de lugares remotos.

Polonia se extiende por 876 kilómetros de norte a sur y por 689 de este a oeste. Dependiendo en qué ciudad, hay muchos negocios -sí, muchos- donde se puede comprar Taragüí, CBSé, Unión, Amanda, Pajarito, etc. Y calabazas o palo santos o incluso mates de cerámica. Y bombillas de diferentes tamaños y materiales. Y termos. Casi como en casa, pero con las descripciones escritas en polaco y recomendaciones -para mí innecesarias- de cómo despuntar el hábito. 

Agradecida con don Cejrowski por su rol antropológico en la introducción del mate rioplatense a una cultura tan especial como la polaca. Y sobre todo, pensando que lo hizo hace más de treinta años, cuando las excentricidades probablemente no abundaban.
Lo genial es que estando en Polonia pude tomar, compartir y honrar al mate. Un lujito en Europa del Este. 
Corina Moscovich
Más sobre el mate 
http://corinamoscovich.blogspot.com/2014/01/about-mate.html
Más sobre Polonia


3.4.16

Adolph Bridge in Luxembourg. Past, present and future. Corina Moscovich

Adolph Bridge in Luxembourg. Past, present and future (adapted from an academic paper of my own). Through a sociolinguistic and multimodal approach, how does the Adolphe bridge ─as an item of linguistic landscaping in a public space─ reflect the identity of the Luxembourgish people? How does time influence such a landmark in a multilingual and multicultural growing society?
I used bibliography on sociolinguistics and on linguistic landscaping and I consulted the information website healtheadolphebridge.lu, so as to gather information about its history and urban development. I took approximately 10 pictures with my Smartphone camera.
I went to the location in order to understand the urban rhythm around the bridge. I have also visited the “Exposition Pont Adolphe” on different occasions in order to gather information about the progress of the works and to talk to a reliable informant.
Context Luxembourg, a country with a size of 2,586km and a population of 562,958 residents plus 258,679 foreigners living in the country (principally passport holders or other EU member states) , has three officially recognized languages: Luxembourgish, German and French. It is one of the six founding EU member states and Luxembourg city is one of the three EU represented in Luxembourg and the Luxembourgish workforce is composed by 44% frontaliers “border crossing commuters”. (Source: Statec)
Top down/bottom up As it is vital to explore the context of production of a linguistic landscaping item we contemplate the emplacement of Adolphe Bridge. The first analytical distinction proposed by Ben Rafael et al is between top-down (institutional) and bottom-up (individual) elements, which both contribute to a “Symbolic construction of the public space”. We consider this classification, although we know that here it is not possible to make a clear distinction since Adolphe Bridge is not a “completely” official sign. However, the bridge was designed by Paul Séjourné, a Frenchman engineer, and Albert Rodange, a Luxembourger. 
Art and architecture A local marker such as the Adolphe Bridge allows us to make connections with the country´s commitment to public art and architecture. Where in the past, sculptures in urban spaces were more related to busts of specific people implying power and status; nowadays the concept of art is different. Besides, children´s art is constantly exhibited in places like Grund´s tunnel and/or in downtown. Art is everywhere: The Melusina sculpture, by Luxembourgish artist Serge Ecker, on the edge of the Alzette River; the giant sculptures in Kirschberg; the impressive Art Museums; the Artist Residencies offered to creative people from all over Europe; the Luxembourg Art Week, etc.
Luxembourgish Language Law This solid policy has been specified in Luxembourg in 1984 under the Language Law (Loi du 24 février 1984 sur le régime des langues). According to it, Luxembourgish was stipulated as a national language (Article 1). French was stipulated as legislative language (Article 2), and then Luxembourgish, French and German were stipulated as administrative and judicial language (Article 3). Moreover, the Language Law refers to the fact that these three languages maybe used without prejudice.
Language choice Another useful language for tourists and/or foreigners in Luxembourg is Portuguese. The city of Luxembourg itself is multicultural and a great number of expatriates and/or foreigners work there for banks and EU institutions. Among groups of mixed nationalities English language is a very important tool but not an exclusive one. 
Guérir le Pont Adolphe
Visual symbol According to the healthebridge.lu website, several projects were considered but the selected one “was a project that was both educational and playful on which the reference” (…) invites the public at large, residents and foreigners alike, to ask themselves why the bridge is "sick", what its symptoms are, what the "treatment" is and what the "healing phases" are in order for it to become again a sound edifice”.
The tarpaulin, which is stretched across the scaffolding surrounding the Adolphe Bridge has two main objectives: first, it aims at protecting the area from falling debris, dust, water used for cleaning and the noise; second, it signals a particular use of the Luxembourgish language policy and its actors. 
Colours In the tarpaulin we can observe the use of white, red and a little bit of brown. Red is generally associated to life (blood), to fire, to love and impulses. It is mainly used for warnings or to call people´s attention. Instead, white is associated to light, purity, clarity, heaven, etc. However, besides the particular interpretations of each colours, we consider important the complete palette tourists and citizens can get. Those colours highlight the message that needs to be read, no matter if its winter, summer, springtime or autumn. A variety of green, brown and yellow is always surrounding that sentence: Guérir le pont Adolphe.
Questions The idea of this impressive and huge tarpaulin resembling the shape of a Band Aid seems to be quite modern ofr the Luxembourgish conservatory side of society. Would this group have preferred a yellow and black “Under repair” sign instead?
The message “Heal the bridge” is written in English on one side and “Guérir le Pont Adolphe” in French on the other. Why not in German or Luxembourgish?
Changes Luxembourg’s society through gradual changes and a special sociolinguistic situation keep transforming itself. Certain aspects of reflection around the rehabilitation of Adolphe Bridge can be related to the fluctuating reality of Luxembourg nowadays.
When I visited for the second time “Exposition Pont Adolphe”, a man working there told me that in fact, the visual symbol was an idea of the Minister of Infrastructure and that it was accepted in the spirit of innovation. He himself was surprised and he connected this original marketing campaign of
Guérir le pont Adolphe to the fact that Xavier Bertel, the Prime Minister was recently married to a man- something that for Luxemburgish society was a bit of a shock.

Past, present and future The Adolphe Bridge, named after Grand Duke Adolphe, who reigned Luxembourg from 1890 until 1905; has become an unofficial national symbol of sorts, representing Luxembourg's independence, and constituting one of Luxembourg City's main attractions. Although now (December 2015) it is being replaced by a temporary bridge, the bridge (Adolphe-Bréck or Pont Adolphe or Adolphe-Brücke) is an arch bridge in Luxembourg city, in southern Luxembourg. Also called The new bridge by locals, it was erected between 1900 and 1903.
Mainly made out of stones, bricks and concrete; the bridge has been refurbished on different occasions over the years. In the 1930´s, Pont Adolphe was refitted to accommodate an electric tram that then circulated through the capital, while in 1936 the railings on the side were replaced. The first major refurbishment took place in 1961, when the concrete surface was repaved and the bridge was widened by 60 cm on each side.
In 1976, the masonry arch bridge was resurfaced, while the works that began at the end of 2012 will see it completely overhauled and once again refitted for the tram.
Luxembourg is a small but strong country and this is well understood among its neighbouring European countries. A bridge made out of stones… Precisely, stones and bricks are materials that we can associate Luxembourg´s identity with. At the same time, the contemporary use of different kind of pebbles in architecture and its current aesthetics give the driver or pedestrian a feeling of resistance and durability. Metaphors related to bridges are simple, clear and abundant. A bridge always unites two main points/ positions across an obstacle (in this case, across the Pétrusse Valley). It may also mean connection and/or transition (in this case, Boulevard Royal, in Ville Haute, to Avenue de la Liberté, in Gare or vice versa). We tend to think that first-time visitors are probably unaware of what is underneath the giant Band Aid but that the strategic location of it makes people curious about it, fostering the idea of returning to Luxembourg to see the changes. 


The works of rehabilitation for the Adolph Bridge combine a building which is opposite the street: Incaos (former “Casino Bourgeois”) and a tramway. Everything is supposed to be inaugurated by 2017.
Pictures of the work in progress are taken every week and then exposed for citizens to follow the evolution of the repairing. Although modern and old buildings are part of the eclectic style of Luxembourg architecture, in this area in particular is very common to see an ancient building like Incaos quite close to a very modern building of a Chinese bank. 
To think about the relationship between language and society in a country like Luxembourg is a never-ending process. There are different ways in which the development of identity maybe revealed: through language, texts, and symbols; but also through art and architecture.
The visual symbol in the Adolphe Bridge marks a key place in the Luxembourg of all times. Luxembourg respects and keeps its past alive in a vibrant present thinking about an even more promising future.
In a world where digital communication is constantly advancing in giant steps, linguistic landscaping constitutes a challenge for the citizen/tourist/pedestrian; as it requires a bit of “skimming” the urban space in order to gain extra knowledge.

Corina Moscovich

26.3.16

LINGUISTIC BIOGRAPHY Corina Moscovich.

LINGUISTIC BIOGRAPHY
Interview with Edouard B. (77 years old): Son of Polish parents, born and raised in Belgium; he is married to a Polish woman and he has worked in an international environment (in Germany and in Luxembourg).
Before the interview, I did some research about my interviewee; wrote and reviewed my questions, found a time and place for the meeting and recording, etc. As behind a mother tongue and any other kind of contact with a second or third language there is a real story, reason or need; during the interview I had to concentrate and listen closely to what my interviewee said about his life in his early years.
C (Corina): Bonjour Edouard, merci beaucoup d´être ici aujourd hui. (...) 1. L'affectivité de la langue: Quelle langue vous sentez-vous est votre langue maternelle? (Polonais? Français?) Pour quoi? / L´affectivité de la langue: Which language do you feel is your mother tongue? (Polish? French?) Why?
E (Edouard) : Le français. ... D’abord parce que j’ai fait toute ma scolarité dans cette langue; ensuite, tout mon environnement extérieur à la cellule familiale ... (amis, activités sportives ou culturelles), durant mon enfance, adolescence, âge adulte, s’est déroulé en français.
C: 2. Donner de brèves informations de fond pour comprendre lieu et du contexte de temps. (Biographie langagière) / Give brief background information to understand place and time context. (Biographie langagière)
E: Né dans la partie flamande de Belgique de parents immigrés polonais, j’ai commencé à parler le polonais au sein de la famille et aussi en dehors, car la colonie polonaise, très importante, organisait des activités culturelles et sportives, notamment en dispensant des cours de polonais aux enfants; ... j’ai aussi appris à parler le flamand dans la rue, je ne suis pas allé à l’école, car la guerre battait son plein lorsque je devais y aller. ... A l’âge de 7 ans, je suis venu vivre avec mes parents dans la partie francophone de la Belgique, et, rapidement, le français a pris le pas sur le flamand et le polonais, ... ce dernier n’était plus utilisé qu’au sein de la famille. J’ai appris la langue anglaise à l’école secondaire qui était une deuxième langue obligatoire ; je l’ai perfectionnée en suivant des cours du soir. ... Quant à l’allemand, j’ai été forcé de l’apprendre lorsque j’ai trouvé un emploi en Allemagne.
As Lévy defined the language biography as: “Forme particulière de récit de soi, la biographie langagière” (Lévy, 2008), I decided to open my interview with a question related to affectivité de la langue: “Which language do you feel is your mother tongue?” (question nº1) . This way, I allowed Mr. E. to start talking frankly about his experiences with languages. Certainly, when analysing the answers of my interviewee, I had to compare “natural bilingualism” with school bilingualism”. The first one is done in a natural environment without a specific training, while in the second one the L2 appropriation is done in a school environment, mainly through instruction.
To learn a second language it is generally a requisite in order to graduate from school, university, etc. In answer to question nº2, Mr. E explained: “J’ai appris la langue anglaise à l’école secondaire qui était une deuxième langue obligatoire; je l’ai perfectionnée en suivant des cours du soir.”
Then, Mr. E. defined his German as... “Quant à l’allemand, j’ai été forcé de l’apprendre lorsque j’ai trouvé un emploi en Allemagne.” In effect, the knowledge on certain particular domains can be technical (limited knowledge for specialized usages) or functional (capacity of using two languages with or without a plain ease on the exercise of a function, a defined occupation, etc).
C: 3. En temps de guerre, avez-vous utilisé un langage spécifique uniquement à des fins spécifiques? / In times of war, did you use a specific language for specific purposes only?
E: ... Pas que je sache, je n’avais pas 2 ans lorsque la guerre a éclaté et près de 7 ans à l’armistice. ... Je peux cependant dire que la concentration de Polonais avant la guerre et pendant la guerre était telle qu’il existait un comité organisateur des activités polonaises où mon père était secrétaire ... (il avait appris à écrire, contrairement à ma mère qui savait lire, mais pas écrire, elle l’apprit par elle-même lorsque je commençai à aller à l’école, après qu’elle avait plus de 30 ans), les autochtones flamands se sont vus obligés d’apprendre à parler le polonais, ma mère ne savait pas parler le flamand, c’était inutile, ... car les commerçants ou bien s’exprimaient en polonais ou étaient tout simplement des Polonais.
In this diachronic approach to Mr. E.´s life in central Europe, the concept of family (and friends) is a key one: it acted as a motor as a driving force so as to incorporate new knowledges and new identities. In the context of language learning, Norton has stated: “I use the term identity to reference how a person understands his or her relationship to the world, how that relationship is constructed across time and space, and how the person understands possibilities for the future
(Norton, 2000).” Although Mr. E. did not give precise details about his linguistic identity (question nº3), his earliest memories of Polish language are closely related to the Second World War: “la concentration de Polonais avant la guerre et pendant la guerre...” We could appreciate that the Polish community in Belgium had an important role in trying to keep language alive, although historic and social circumstances were very difficult.
C: 4. Quelle décision de politique linguistique avez -vous fait au sujet de vos propres enfants? /Which language policy decision did you make regarding your own children?
E: ... Nous avons délibérément décidé de parler le français. ... Grandissant en Allemagne, les enfants auraient appris à parler l’allemand. ...Nous ne voulions pas utiliser le polonais (langue de la mère) afin de ne pas risquer de les perturber avec trop de langues d’une part, et, d’autre part, à cause du contexte politique général de l’époque où la Pologne vivait dans une dictature d’Etat communiste dirigée par l’Union soviétique. ... Avec le recul, j’estime que, sentimentalement, que c’est une faute que la mère ne parle pas sa langue maternelle à ses enfants qui sont alors privés d’une partie affectueuse que la mère n’a pu exprimer qu’artificiellement à travers d’une langue apprise.
Mr. Edouard B. was keen on answering my questions and sharing his thoughts about his schooling experiences in Belgium. Besides, he also identified some of these language practices in his own kids’ schooling.
As a necessary step when conducting social studies research, the interview represents a challenge, as both parties cannot know how everything will turn out. By answering “Which language policy decision did you make regarding your own children?”(question nº4), the spontaneity with which my interviewee connected geography, family histories and languages made me think the concept of translanguaging practice. Nowadays this term refers to a concept that goes beyond deliberate language switching in the classroom to embrace different practices of multilingualism, mostly considered within but not limited to an educational setting. Probably Mr. E. and his wife used translanguaging (Polish) to speak about topics they did not their kids to know about (couple stuff, money issues, etc). However, there seem to be some regrets about language policy: What would have happened if his wife had talked (and taught) to their children in Polish?
C: 5. Donnez une brève définition de l'importance de chaque langue (polonais, allemand, français, espagnol) dans votre vie. / Give a short definition for the importance of each language (Polish, German, French, Spanish) in your life.
E: ... Le polonais est une langue sentimentale parce que je l’utilisais avec mes parents et que je l’utilise quelque fois avec mon épouse et lors de mes séjours en Pologne, je le classe en deuxième position; ... l’allemand est une langue apprise à l’âge adulte que je domine au niveau de la compréhension et du parler, beaucoup moins pour l’écrit, il me servait durant ma vie en Allemagne et me sert encore lors de mes déplacement dans ce pays, je le classe en troisième position ; ... l’anglais, appris à l’école secondaire et perfectionné par la suite a été utile dans ma vie professionnelle, mais c’est une langue apprise, scolaire et non pratiquée journellement comme c’était le cas avec l’allemand, je classe l’anglais en numéro quatre ; ... enfin, le français est ma richesse personnelle pour ce qu’elle me permet d’exprimer le moindre de mes états d’esprit, je classe le français en première position. Je ne connais pas l’espagnol.
Mr. E. has a very clear picture of how and why he used and still uses each language. Although in some parts of the interview he gave me too much information all together, most of the data is relevant. Regarding content, in answering question nº5, Mr. E. opens up the most: “ Le polonais est une langue sentimentale parce que je l’utilisais avec mes parents et que je l’utilise quelque fois avec mon épouse et lors de mes séjours en Pologne”. He keeps the rhythm in his sentence; however I can notice a change in his voice due to emotions. In general, his voice is modulated but sometimes a bit low. It goes up and down, which makes his narration much more interesting as he catches my full attention. His speech is articulated, as he expresses his ideas and thoughts in a clear and effective way. Mr. E. gives his insight by using a simple and everyday language; he does not use many adjectives or adverbs.
C: 6. Vous considérez-vous d'avoir une identité plurilingue? Pour quoi? /Do you consider yourself to have a plurilingual identity? Why?
E: Oui, parce que je parviens facilement à passer d’une langue à une autre et à réfléchir dans chacune de ces langues. Je pense qu’il n’existe pas de traduction parfaite d’une langue vers une autre. Il est fréquent de rencontrer des cas où il est impossible de transposer une idée émise dans une langue vers une autre langue de manière identique. ... Ainsi, il m’est arrivé de lire des traductions françaises de romans anglais puis de lire les mêmes œuvres en anglais; j’éprouvais plus de plaisir dans lecture originale anglaise. ...Un deuxième exemple est le roman Anna Karénine de Léon Tolstoï que j’ai lu d’abord en français puis en polonais; la version polonaise m’était bien plus parlante que celle en français, probablement à cause de la proximité des langues russe et polonaise.
Within the process of learning additional languages, speakers may internalize different perspectives and, thus, restructure the thinking patterns they already have to describe events and scenes (Pavlenko, 2011). In a language biography, reflections on our attitudes towards language diversity and plurilinguism are crucial. When I asked Mr. E. if he considers himself to be plurilingual (question nº6), he answered: “Oui, parce que je parviens facilement à passer d’une langue à une autre et à réfléchir dans chacune de ces langues” (French, Polish, German, English). In this context, we agree with the concept of plurilingualism of the European Council, which takes into account the regional languages, the minority languages and the migration languages. In his linguistic biography, Flemish, Polish, French, English and German have played (and still play) a specific role.

REPRESENTATIONS OF LANGUAGES
We certainly have ideas about languages and cultures. Although we have received those images and ideas (mainly stereotypes), they vary according to the person. The social representations (RP) "ne requièrent aucun travail autre que l’acte de leur mise en œuvre énonciative" (Py, 2004: 8).
Besides, stereotypes about languages, countries or nationalities can be better understood by facing social issues, common fears, language rights, etc.
Globalization has an impact in the number of people who move around for diverse reasons. Originally, Mr. E.´s family (from Poland) migrated to Belgium searching new horizons (job opportunities) and when they did they found a new way of life and a new language. During his early years Mr. E. needed to deal with different people speaking other languages and who did not always dominate Polish. Therefore, in his linguistic experience, to learn French became urgent: there was an objective need to communicate in another language.
Learning new languages takes time and implies a great effort. Regarding the learning process, as we reflected in class, the goal of pedagogy and other social sciences is to go beyond the basic traditional knowledge of a language. Learners want to achieve a level which allows them to have a fluency in the language they are learning, making the learning (and teaching) process as much as experience-based as possible. This helps the learner to understand that not only the knowledge of grammatical structures is needed when acquiring a new language. To be able to speak a new language allows the learner to perceive other cultures in all their richness and complexities and to understand other ways of thinking and doing things.
Prof. Leo van Lier, in his book "Introducing Language Awareness” (1995) stated: "Language awareness can be defined as an understanding of the human faculty of language and its role in thinking, learning and social life. It includes awareness of power and control through language, and the intricate relationships between language and culture". Languages are also a mean to reach a goal and they present many angles. To be able to master our mother tongue and understand other ways of thinking and doing is key so as to see "from outside” the complexity, richness and social diversity of language. Because multilingualism keeps on growing constantly, languages and cultures become closer.
By increasing our own "language awareness” we will be able to understand our mother tongue or our own language "repertoire”. Although the focus on how to learn languages is more related to teachers and linguists, in a multilingual Europe the why has to be a main concern for politics, society, education, mediation and policy.
Considering and thinking language awareness paths (geography, linguistic diversity, economy, work demand, immigration) will help to build stronger links between languages and collective identities in different linguistic scenarios.
In psychology, sociology, and anthropology, identity is a person's conception and expression of their own (self-identity) and others' individuality or group affiliations (such as national identity and cultural identity). As Norton asserted: “biographical insights are important in understanding the relationship between identity and language learning” (Norton, 2000). In my interview with Mr. Edouard B. –through my questions and his answers– I consider to have covered vital topics related to a linguistic biography: schooling and family in connection to mother tongue, globalization, different kinds and types of language, translanguaging, language policies, language use, language strategies, language and culture, linguistic identity, plurilinguism, language awareness, etc.
We should identify how the language learner, in this case, Mr. Edouard B. understood his own world when he started to incorporate other languages. If we think in Bordieu´s terms (1984), Mr. E. is aware of his “cultural capital” and it looks like his identity as a French speaker is more powerful than his identity as a Polish speaker (son of immigrants).
Corina Moscovich

Bibliographical references
LÉVY, D. (2008). Introduction: soi et les langues. In G. Zarate, D. Lévy & C. Kramsch (dir.), Précis du plurilinguisme et du pluriculturalisme (pp. 69-81). Paris: Éditions des archives contemporaines.
Norton, B. (2000). Identity and language learning: Gender, ethnicity and educational change.
Harlow, England: Pearson Education.
Pavlenko, A. (2011). (Re-)naming the world: Word-to-referent mapping in second language speakers. In A. Pavlenko (Ed.), Thinking and speaking in two languages (pp. 198-236). Multilingual Matters.
Py, B. (2004). Pour une approche linguistique des représentations sociales. Langages, 154, 6-19.

van Lier, Leo (1995). Introducing Language Awareness. London: Penguin English.

9.3.16

“Manifestación” by Antonio Berni. Corina Moscovich

The painting called “Manifestación” by Antonio Berni is an art piece that stimulated me to think about multilingualism and/or migration. As I chose an artist from my own city, I tried to relate his own reflections with my own ones. In an interview shortly before his death Berni said, "Art is a response to life. To be an artist is to undertake a risky way to live, to adopt one of the greatest forms of liberty, to make no compromise. Painting is a form of love, of transmitting the years in art." In a 1936 interview, Berni said that the decline of art was indicative of the division between the artist and the public, and that social realism stimulated a mirror of the surrounding spiritual, social, political, and economic realities.
"Manifestación” (Demonstration) is an imposing work on canvas of the Argentine artist Antonio Berni, beyond many other productions that have also acquired great recognition worldwide. I still remember when I saw the picture at an exhibition at the Malba Museum in Buenos Aires some years ago. I was impressed. At that time, although it was not the first time I saw some of his work, something inside of me was different. I could connect with his work, understand the artist. To think about an artist in connection to multilingualism and migration was a bit of a challenge, yes, but Berni himself is a product of that.

About “Manifestación” by Antonio Berni:
The painting is from 1934 and its topic is the crisis of the 30´s: unemployment, poverty, Nazism,
fascism and Spanish civil war. All of them were reflected around Antonio Berni´s “Manifestation”, an emblematic work of national art of Argentina. It shows harmony and equilibrium in a superlative way. Faces are superposed and facial expressions call the viewer´s attention within an accelerated perspective of an elevated vision. Each face has a distinctive expression. It is not about a uniform mass of people. The composition of the piece of art is characterized by individuals.
These men and women are painted over sackcloth with industrial painting, which is a very effective material as well. Most probably Berni draw them having in mind the pictures he took or the ones from police chronicles on the newspapers. We only see the faces in a frontal position which reveal their mood, differences and conflicts.
There is a board which reads: Pan y trabajo. In the back of the demonstrators there are painted houses which look like uninhabited. That is a characteristic of Berni´s painted houses at that period of his work. He has used pure colours, or he mixed them with black and white. Lines are straight and curved, geometrical or sensitive; and there is perspective: as houses get far away, they look smaller and details are simplified.
Besides, our look takes us to the middle of the work, there is a boy represented with a piece of bread in his hand. He is a symbol of hope, maybe because of the saying: every kid is born with a piece of bread under his arm. In front of the boy, a closed fist reinforces the idea of struggle and strength that is being claimed.
Berni´s popular Nuevo Realismo paintings include Desocupados (The Unemployed) and manifestación (Manifestation). Both were based on photographs Berni had gathered to document, as graphically as possible, the "abysmal conditions of his subjects. Moreover, Antonio Berni´s painting contains main features of European painting of end of 19th century and beginning of 20th century which Berni incorporates to his Argentinian vision. He therefore includes a nostalgic, dramatic and intense aspect; all this resulting in a painting of great maturity and plastic soberness related to the spirit of the time and place. The quality of his work resides in the precise balance that he attained between narrative painting with strong social content and aesthetic originality.

About the artist:
Delesio Antonio Berni (Rosario, 14 May 1905 - Buenos Aires, 13 October 1981) was an Argentinian figurative artist. He is associated with the movement known as "New Realism", a Latin American extension of social realism. His work, including a series of Juanito Laguna (a character he created for his paintings) collages depicting poverty and the effects of industrialization in Buenos Aires, has been exhibited around the world.
His mother, Margarita Picco, was the Argentine daughter of Italians who settled there. His father Napoleón, an immigrant tailor from Italy, died in the first World War. The Jockey Club of Rosario awarded Berni a scholarship to study in Europe in 1925.
He went back to Rosario for a few months but returned to Paris in 1927 with a grant from the Province of Santa Fe. Studying the work of Giorgio de Chirico and René Magritte, Berni became
interested in surrealism, and called it "a new vision of art and the world, the current that represents an entire youth, their mood, and their internal situation after the end of the World War. A dynamic and truly representative movement." But he would discover that Surrealism didn't convey the frustration or hopelessness of the Argentine people.
In 1931 Berni returned to Rosario, where he was then hired as a municipal employee. The Argentina of the 1930s was very different from the Paris of the 1920s. He witnessed labor demonstrations and the miserable effects of unemployment and was shocked by the news of a military coup d'état in Buenos Aires (Infamous Decade).
Human portrait was one of the most used genres by Berni with very diverse techniques, always linked to his social compromise. He was one of the Argentinian artists more characteristic about it. He began painting realistic images that depicted the struggles and tensions of Argentina.
In 1941 Berni travelled to Bolivia, Ecuador, Peru and Colombia to study pre-Columbian art. The 1940s saw various revolutions and coups d'état in Latin America, including the ousting of Argentine President Ramón Castillo in 1943. Berni responded with more political paintings.
From 1951 to 1953 Berni lived in Santiago del Estero, a province in north-western Argentina. The province was suffering massive ecological damage. While in S. del Estero he painted the series Motivos santiagueños and Chaco, the latter of which was exhibited in Paris, Berlin, Warsaw, Bucharest and Moscow. In the 1950s, he returned to expressionism. Berni's post-1950s work can be viewed as "a synthesis of Pop Art and Social realism." In 1958 he began collecting and collaging discarded material to create a series of works featuring Juanito Laguna.
The series became a social narrative on industrialization and poverty, and pointed out the extreme disparities existing between the wealthy Argentine aristocracy and  the "Juanitos” of the slums.
In 1965 a retrospective of  Berni's work was organized at the Instituto Di Tella, including the collage Monsters. Versions of the exhibit were shown in the United States, Argentina, and several Latin American countries. After a March 1976 coup Berni moved to New York City, where he continued painting, engraving, collaging, and exhibiting. He conveyed his observations about New York in subsequent work with a touch of social irony. Berni's work had gradually become more spiritual and reflective.

External links for Berni´s work:
http://www.tendreams.org/berni.htm
http://www.e-flux.com/announcements/antonio-berni/
http://www.malba.org.ar/wp-content/uploads/2014/04/Berni.pdf
http://tintafresca.com.ar/marisa/vacaciones09/pdfs/aprend1ro_21a23.pdf
http://www.mfah.org/exhibitions/past/antonio-berni-juanito-and-ramona/
http://wander-argentina.com/malba/
http://www.newamericanpaintings.com/blog/monster-masterpieces-art-antonio-berni

Sound/video files:
https://www.youtube.com/watch?v=NR1WfYZXU-4
https://www.youtube.com/watch?v=Bs3Vg2idkVs