Response Paper 1

migration

 

Migration

In the panel, “Migration” José  Orozco depicts what appears to be indigenous people of America. There are approximately twenty-one bodies in a formation of three rows. However, Orozco paints in a way that suggests a larger crowd than what is seen. All of the people are men and they are naked. The lack of any coverings showcase the musculature in all of their bodies. The majority of the men are focused in the same forward direction with stoic determination on their faces. However, one of the men in the front row is kneeling on his hands and knees with his head slightly bowed. For this particular panel Orozco uses a darker color palette with hues of bluish-grey and terra-cotta. Within each of these aspects of the painting I believe Orozco has the intention of symbolizing not only the beginning of his mural, but the beginning of American Civilization.

“Migration” is the first panel in Orozco’s The Epic of American Civilization. Given that it is titled, “Migration” it could be hypothesized that Orozco is alluding to the migratory ways of the early indigenous peoples. This would be a logical assumption because it is
known that the people of this area migrated to where food could be found. Although, I believe that the title may be foreshadowing the future. These people are moving toward what has yet to come and their body language suggests that they are prepared.

The bodies of these men are well defined. Their muscles are chiseled, taught, and
contoured; they are well abled bodies. The physique of these indigenous men was musclesomething that was well thought out in some of Orozco’s earlier sketches. Therefore, the strength of these men was meant to be expressed. I believe Orozco’s intent was not only to display physical strength, but a mental strength that could endure hardship. These men can physically withstand and carry a heavy weight. Perhaps their strength signifies that they can carry the weight of time even when it is continuously suppressing them down. However, Orozco made sure that the bodies of these men were well equipped to carryClemente the weight on their shoulders.

In the front row of men there is a man who is kneeling on his hands and knees. He is the only one in this position, but there are no signs of him being weaker than the rest of the men. I believe this ties into Orozco’s intent of the men being the foundation of time. This particular man is readily prepared to have society rest on his shoulders.

Another aspect that hints towards Orozco’s intention of time is the color scheme. This is something that particularly stood out to me. This was because in comparison to christthe rest of the mural, “Migration” is painted in subdued earthier tones. I believe the most extreme contrast can be seen between “Migration” and “Modern Migration of the Spirit.” I think Orozco meant this dull to vibrant contrast (as well as the similarities in the tiles) to further illustrate the chronological order of the panels in his mural. The colors signify early stages, not necessary of development, but early stages in relation to time. I thought this was an interesting way in which Orozco uses artistic aspects for time representation.

I think that it is important to note the fact that Orozco included images of indigenous people in his timeline of American civilization. One can ascertain that this aspect of life was important to Orozco. He acknowledges these specific people as those who started it all. The acknowledgment in itself is important because it shows he as a person and an artist is trying connect to indigenous roots of America rather than the prevalent European influence.

This panel captured my interest because of my own indigenous roots. Personally, I can relate to wanting to acknowledge this piece of me in a light. I, as an indigenous person, appreciate how Orozco depicted these indigenous people. They are represented in the first panel because they are strong enough to withstand the strenuous weight of time in The Epic of American Civilization.