I was Born
in a Texas Town
before the Great War
in the ceiling of
– from the poem “1996” by Ronnie Burk
Is it any wonder that a number of ACT UP activists were astrological fire signs? Continuing our salute to the impulsive, impassioned, battling horns of the ram that is Aries, this ACT UP Archives post is in honor of the 60th birthday of Ronnie Burk- April Fool, Surrealist, Chicano, Poet, Bad Ass Motherfucker.
Since his death a dozen years ago, there has recently begun a renaissance of Ronnie’s legacy as a prophetic artist and fearless activist as academic scholars who have discovered his voice and vision are bringing new insights into the power of Ronnie Burk’s work.
In spite of the hardship of his troubled adolescence in racist and homophobic South Texas, Ronnie’s alchemical artistry and belief in the magical allowed him to transcend society’s prohibitions in order to create a body of work that pushed the forms of Surrealist imagination and radical political activism. Ronnie was among the first students at Naropa University in the mid-1970s where he studied the teachings of Tibetan Rinpoche Chögyam Trungpa, met Beat writers like Allen Ginsberg, William Burroughs and Gregory Corso as well as Diane Di Prima, who became one of his mentors.
After his summertime stints in Boulder, Ronnie returned to San Antonio to participate in the cultural and political activities in the Chicano community. In 1977 his first poems were published in Caracol: La Revista de la Raza, which was founded and edited by Cecilio García-Camarillo and Mia Kirsi Sategberg. Together they traveled to the fourth Floricanto Festival (a national festival of Chicano literature) where he met poet and editor Lorna Dee Cervantes. She later published Ronnie’s first chapbook En el Jardín de los Noplaes (In the Garden of Prickly Pear Trees, 1979) as a Mango Publication. This activity brought him into contact with Chicana poet and novelist Ana Castillo.
In the early 1980s, Ronnie lived in New York City where he became friends with the Surrealist poet Charles Henri Ford and the photographer, filmmaker and poet Ira Cohen. He was also involved with many of the then young filmmakers of the Lower East Side including Richard Kern, David Wojnarowicz and Ronnie’s close friend Tommy Turner. Ronnie also participated in the Nuyorican Poets Café with Miguel Algarín and Miguel Piñero and attended performances by the Living Theater.
Though he was adept at creating collage in the spirit of Max Ernst and assemblages that recalled that playful wonder of Joseph Cornell, Ronnie’s true calling was that of the poet. Like his great inspiration, André Breton, Ronnie sought liberation through the transformative disruption of Surrealism through which he created a magical connection with traditions that came from being north of the border and Indigenous Mexican descent- that is Nahuatl poetics.
I first Ronnie met in 1996 as a member of ACT UP San Francisco- the AIDS Coalition to Unleash Power. Having lost friends in the late-’80s to AZT poisoning and been exploited by the San Francisco AIDS Foundation when seeking emergency housing, he was turned on by the group’s aggressive, theatrical demonstrations that challenged complacency, conflict of interest and greed within the AIDS industry. During the ten years he lived in San Francisco, Ronnie transited between poetic and political circles. Among his friends were surrealist poets Phillip Lamantia and Will Alexander.
In 2012 Kolourmeim Press published Sky*Boat, a collection of his poems and collages. Ronnie left behind an extensive amount of writing and critical analysis as a member of ACT UP San Francisco. Crafting incisive political broadsides and letters to the editor, impassioned public comment at the Board of Supervisors, to taking the bullhorn at animal liberation demonstrations, Ronnie’s fervent advocacy on behalf of the poor, marginalized and oppressed continues to reverberate. Through a combination of theater and ritual, he remained an omnipresent thorn in the side of the gay political elite, challenging their absurd petit-bourgeois conformist values.
In a previous post, ACT UP Archives examined how Ronnie combined theater, ritual and civil disobedience as part of his political protest. There remains an abundance of material from Ronnie’s bold and controversial activism as an HIV-positive gay man of Indigenous Mexican descent, a court jester to the AIDS industry, that will be highlighted in future posts. For now, we suggest a few ways to remember Ronnie on the anniversary of his birth.
Listen- Sun Ra, Nina Hagen, MC5 and Billie Holiday
Watch- Grey Gardens, Modern Times, Brain Candy and
The Discreet Charm of the Bourgeoisie
Read- Mina Loy, Harry Crosby, Ana Castillo and Federico Garcia Lorca
Remember- Sitting Bull, Assata Shakur, Alex Nieto and Marilyn Buck