Clemente’s Right to Loisaida

As previously discussed in the last post, The Clemente holds a widespread amount of partnerships inside the building and all around New York City. These cultural art education centers uplift one another by using their platforms to support each other’s messaging. Many of the organizations that The Clemente houses like Arts for Art derive from an advocacy that the United States is multicultural and diverse. It’s difficult to imagine building better bridges with other organizations to demand their right to the city because of the well-established network. I believe that The Clemente does see “democratic control over the production and the utilization of the surplus” as a core principle of their mission because they directly state that they are “the pulpit where countless New York-based Latinx, BIPOC, local LES, and international partners create multi-disciplinary contemporary work and co-productions in a collaborative environment… [G]uided by [their] namesake’s legacy of building culturally grounded multigenerational leadership, local power, and mutuality in times of crisis” (theclemente.org) in the conclusion of their mission. The discourse of “right to the city” is seen through the way that the reflection of cultural diversity is imperative to The Clemente. Clemente Soto Velez made it certain that the artistry and livelihoods of Puerto Rican immigrants were enriched and revered and that is the energy that sustains The Clemente.