Part 1 (of 10). Introduction: Meet Dreamers Adrift

   I am writing this paper about digital storytelling vis-a-vis a particular digital storytelling project called Dreamers Adrift, which according to their social media site is: “A creative project ABOUT undocumented students, BY undocumented students, and FOR undocumented students.” Elsewhere on the site it says they are “4 Undocumented College Graduates speaking up for themselves and other undocumented youth.” The ways in which they “speak up” is through videos they make collaboratively and host on Youtube, then spread on the internet via a website, a Facebook page, word of mouth and its electronic equals, sharing and reposting. The collaborators in the project are DREAMers, a term used by those who fall into the groups who would be affected if the DREAM Act were to pass. The DREAM Act would provide a road to citizenship for undocumented youth who entered the country before they were 16 and either attended two years of college or did two years of military service. It was first introduced in 2001 but has failed to pass thus far even though it has undergone recent changes to become more appealing to bipartisan support.

Meet Julio, Deisy, Jesus and Fernando (pictured above), graduates of California State University Long Beach and the creative minds behind Dreamers Adrift. This picture was drawn by Julio, a prolific artist who spends much of his time and energy drawing for “the movement,” most of which is specific to the DREAM Act passing. These 4 believe that the act will pass, maintaining that, as the top right corner of this website screen-shot says, “The DREAM Lives On...” and as Jesus’s voice says at the end of the following video, “the DREAM Act is alive, the DREAM Act is alive.”

This video is a great way for the Dreamers to introduce themselves; it is called Día de los Sueños, a video for Dia de los Muertos with a DREAM Act twist.

This was the first collaborative video made by Dreamers Adrift, though Jesus made three videos in video-blog format before this one, the first of which was posted on the Dreamers Adrift Youtube on September 30, 2010.

Part 2. Some history of the Project

As I said, Jesus made video blogs first. Here is an example of one in which he links Arnold voting down the California DREAM Act to capitalism.

But he found himself wanting to do more than a video blog:

        As Jesus said, there was “something missing” in manipulating ones own image which led the project to become collaborative.  This is reminiscent of the thoughts of Octavio Getino and Fernando Solanas who rejected the idea of directors and called for collaborative filmmaking in order to make cinema of revolution.   Less than three months later, the foursome have created five more videos, are in post-production on one more, and uploaded Jesus’s graduation speech at the 2007 Chican@/Latin@ graduation.  But looking further back, these four were members together of FUEL CSULB, a campus organization for AB540 students.  After all four had graduated, Fernando and Deisy in 2009 and Julio in 2010, they created a collaborative digital storytelling project along with three other people called 1.8 Million Dreams.  The project was named for the 1.8 Million DREAMers in the US, all of which they aimed to have tell their story via audio, video, photo essay, essay, poem, or artwork.  This project had complicated issues which is what spurred many of the DREAMers to leave, to run adrift.

    When I asked the Dreamers what the name “Dreamers Adrift” meant, Jesus said that the name “describes our situation, as well as our exit from the 1.8 Million Dreams project” and Deisy added that after graduation it “felt like we were drifting in some sort of limbo.”  Their narratives describe their “situation,” a word I have come to recognize as being a synonym for “undocumented.” However, the videos do more than tell their stories.  But we’ll get back to that.

Part 3. On Digital Storytelling

    Digital storytelling is a broad term that brings what is private and personal, usually stories and narratives, into the public; many times on a global scale, in mediated forms. This includes but is not limited to Facebook, Twitter, Youtube, and blogging. Before webcams, video and digital cameras, and laptops were widely affordable or accessible, the traditional digital story was when an outsider with technology such as voice or video recording devices came in and recorded stories of usually underrepresented populations. This has largely changed and many of these unheard voices and stories represent themselves without the need of another person facilitating the recording.

       Today, digital storytelling is created in line with our re-mix culture as it often takes things that are already produced such as images and sounds to help people tell their stories.  There are institutions such as The Center for Digital Storytelling which assist people in creating their digital stories according to very specific guidelines in terms of length, form, and purpose, and then there are more DIY forms which are unmediated by institutions.  But in general, there are not that many models of digital storytelling and people tend to use the same structure over and over again, usually making photo slideshows with voiceovers or they talk to a webcam, their stories often confined to conventions specific to their topic.  For example, a typical digital story on being “hapa”, mentally ill, “coming out” or being “AB540” will often follow certain respective narrative patterns which one can decipher with a little Youtube or Blog research.  

Here is an example of an AB540 Digital Story created by 1.8 Million Dreams:

Visibility pensamientos

"...and that visibility which makes us most vulnerable is that which also is the source of our greatest strength." Audre Lorde

When i was thinking about my visual project and my thesis of visibility vs. invisibility I thought of the famous Audre Lorde quote listed above.  I emailed my brother, my most trusted translator, and asked about translating her quote in the best way for my video on the guys.  Instead of translating it he said he wasn't sure that the quote really applied to the jornaleros in the way it applied to queer women of color (whom Audre was referring to).  I thought about this and just kind of dropped it.  Then tonight I saw a woman who is running the queer women of color collective I am interning with post the same quote on facebook and it made me think more about the difference between being "visible" as an undocumented person (which to a large percentage of the population makes you a criminal and/or a terrorist) and being "visible" as a person of color or  queer or a person with one breast (which Audre also theorizes about in terms of visibility), or being a woman.  I have a dear friend who was running a very respectable, political and highly artistic website consisting solely of videos of AB540 students "coming out," becoming visible, showing their faces, revealing their names and their legal statuses.  In this case, Ms. Lorde's quote can work; the students are politicizing themselves by making themselves visible and fearlessly confronting the risk of being "outed."  In the case of the men that I filmed however, my intent is to show them representing themselves and being visible while not putting them at any risk by revealing their names, legal statuses or locations.  So though I agree with my brother about the quote not applying in this particular case, I think it can apply to undocumented people whose visibility makes them incredibly vulnerable, but whose fearlessness can inspire and motivate people in ways that those who have the privilege of not being at risk just by existing can not.