Biography:
Felicia “Fe” Montes is a Xicana Indigenous artist working and living in Los Angeles that is dedicated to spreading the message of women and Indigenous empowerment through arts activism (“Biography”). Montes is a multimedia artist. Montes is a poet, performer, educator, professor, emcee, and creates visual installations (“Biography”). Not only does Montes utilize a diverse range of mediums, she also is the co-founder and coordinating member of two creative woman’s collectives (Mujeres de Maiz and In Lak Ech and El MERCADO y Mas) (“Biography”). Though Montes is an artist herself, she also assists with organizing transnational art exhibitions including Zapatistas, Peace Dignity Journeys, and La Red Xicana Indigena (“Biography”).
Education:
Montes holds a Bachelor of Arts from the University of California, Los Angeles in World Arts & Cultures with a minor in Chicanx studies (“Biography”). She also holds a Master of Arts in Chicanx Studies from Cal State Northridge and a Master of Fine Arts in Public Practice Art from Otis College of Art & Design (“Biography”). In addition, Montes has various certifications related to wellness and teaching (“Biography”).
Public Art Practices:
Botanica Del Barrio Rolling Remedios Cart
In her project entitled “Botanica Del Barrio,” Montes aims to educate and facilitate a dialogue about Mexican traditional medicine (“Botanica Del Barrio”). The project is both a workshop in that Montes is the teacher educating the viewer on the art, but also a visual installation in that the plants are arranged in a certain way and the cart is painted with “Botanica del Barrio" in large red letters (“Botanica Del Barrio”). The rolling nature of the cart bridges the gap between the artist (“Fe Montes”) by creating a space for education outside the home or expensive wellness clinic (“Botanica Del Barrio”).
Politricked Public Art Cart
"The Politricked Public Art Cart" was created by Montes and Joel ‘ragoene’ Garcia and it aims to disperse “know your rights information” through “posters, projections, performance, poetry, and politics” (“Politricked Public”). "The Politricked Public Art Cart" looks like a corn or elote vendor cart to allow for mobility and travel to various communities (“Politricked Public). "The Politricked Public Art Cart" uses a TV monitor and P.A. system to disperse political information through images, performance, and video (“Politricked Public”). Montes hopes that this format of arts activism can be used as a template by other artists to educate (“Politricked Public”).
The Bumpin’ Bici
“The Bumpin’ Bici” is a public performance piece that is raising the consciousness of audiences through performative protest in the streets (“The Bumpin’ Bici”). “The Bumpin’ Bici” is made up of a sound system connected to a bike basket. Montes takes on the character “Raramujer” who is an “urban indigenous wom[a]n who shares oral history and urban indigenous worldviews across Los Angeles” (“The Bumpin’ Bici”). Montes rides the bike through the streets reciting “floetry” and playing indigenous songs (“The Bumpin’ Bici”). Montes hopes to create a space of public ritual and redefining what protest looks like.
LACMA Olmec Exhibit Indigenous Peoples Day Intervention
On October 12, 2010, a ceremony ritual to honor ancestors and spirits was organized by Montes to commemorate Indigenous People’s Day (“LACMA Olmec”). The main purpose of the ceremony was to put a blessing on the Olmec stones and statues that were in the exhibition at the LACMA (“LACMA Olmec”). The ceremony took place unannounced and in places throughout the LACMA that were unauthorized for public use (“LACMA Olmec”). The ceremony consisted of native prayer, drumming, Aztec dance, and huge projections of indigenous history, resistance, and music (“LACMA Olmec”).
Publications:
IN MEMORIAM: JENNI RIVERA: La Chicana De La Banda:
Montes is not only a multimedia artist, but a Chicana/x voice in journals. In the article entitled “IN MEMORIAM: JENNI RIVERA: La Chicana De La Banda,” Montes discusses Jenni Rivera’s singing career and life as an activist (Montes “IN MEMORIAM”). Throughout this article, Montes reveals how Rivera’s emphasis on common themes such as love, sadness, and freedom to live made Montes feel less pain (Montes “IN MEMORIAM”). Though this article is about remembering Rivera, Montes shed light on what motivates her as an artist. When writing this article, Montes emphasizes Rivera’s background in that she said “Jenni Rivera was truly a CHICANA Mexican regional music star (even sang it out loud in a song), representing LBC (Long Beach City), homies, single moms, and homegirls from across Cali, the southwest, and the Americas” (Montes “IN MEMORIAM” 6). Montes’ emphasis on background and commonality when describing Rivera reveal that Montes is an artist that values culture and community.
“Lotería Xicana”
In this article published in Aztlan: A Journal of Chicano Studies, Montes discusses her spoken word piece entitled “Lotería Xicana.” This piece focuses on Montes’ multiple identities coming together to create her (Montes “Lotería”185). “Lotería Xicana” is an art piece that combines poetry, props, images, and music (Montes “Lotería”185). Montes’ “hope is that women of color can connect and relate to these pieces and realize that each of us has our own role and way” (Montes “Lotería” 185). This project reveals that Montes is an artist that is personal, aims to unite, and build community.
Full Moon Coyolxauhqui Circle
In Voice from Ancestors, Montes and Martha R. Gonzales write a chapter entitled “Full Moon Coyolxauhqui Circle” to describe one of Montes’ community building projects centered around women empowerment. Montes created a community of women that come together to sing, to celebrate the stars, listen to one another, and let go of worries (Montes et al. “Full Moon” 299-300). In her chapter, Montes emphasizes the need for women to have a community to transform emotions with (Montes et al. “Full Moon” 299). The chapter reveals the values (community, spirituality, and tradition) that motivate Montes as an artist and leader.
References
“Biography.” Felicia 'Fe' Montes, https://feliciamontes.wordpress.com/about/.
“Botanica Del Barrio.” Felicia 'Fe' Montes, https://feliciamontes.wordpress.com/arts/public-art-practices/botanica-del-barrio/.
“The Bumpin' Bici.” Felicia 'Fe' Montes, Https://Feliciamontes.wordpress.com/Arts/Public-Art-Practices/Raramujer-the-Bumpin-Bici/.
“Fe Montes: Xicana Artist, Poet, Hip Hopper, and Curandera.” Healing, Memory and Spirituality, 16 Apr. 2017, https://queerlatinavisualitiesmontes.blogspot.com/2017/04/healing-memory-and-spirituality.html?fbclid=IwAR0SLLmNybiN5xLFxn4yNcDZQxVEUZjdQW_nKrEYzP-YeACkQ9TQLXXxd20.
“LACMA Olmec Exhibit Indigenous Peoples Day Intervention.” Felicia 'Fe' Montes, Https://Feliciamontes.wordpress.com/Arts/Public-Art-Practices/Lacma-Olmec-Exhibit-Indigenous-Peoples-Day-Intervention/.
Montes, Felicia "Fe". “Lotería Xicana.” Aztlan: A Journal of Chicano Studies, vol. 45, no. 1, 2020, pp. 185–192.
Montes, Felicia, et al. “Full Moon Coyolxauhqui Circle.” Voices from the Ancestors , University of Arizona Press, pp. 298–300.
Montes, Felicia. “IN MEMORIAM: JENNI RIVERA: La Chicana De La Banda.” Proquest, vol. 13, 2013, pp. 9–9.
“Politricked Public Art Cart.” Felicia 'Fe' Montes, https://feliciamontes.wordpress.com/arts/public-art-practices/politricked-public-art-cart/.
Further Reading:
Ten Fe By Felicia ‘Fe’ Montes
Guerrera Beats: Hip Hop Chicana En Los Ángeles by Diana Carolina Peláz Rodríguez
“Sacrificios” by Felicia Montes published in Fleshing the Spirit: Spirituality and Activism in Chicana, Latina and Indigenous Women’s Lives
“Movement and Spirit: The Artivism of Felicia Montes” by Felicia Montes
External Links:
www.FeliciaMontes.wordpress.com
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