Arts & Entertainment

Gay Venezuelan ‘artivist’ fights homophobia, discrimination

Published

10 years ago

April 20, 2016

Daniel Arzola, gay news, Washington Blade

Daniel Arzola (Photo by Benjamin Araneda)

AMHERST, Mass. — A self-described gay “artivist” from Venezuela is using his art to fight homophobia and other forms of discrimination.

Daniel Arzola is behind the “I’m Not a Joke” campaign, which features a series of 50 posters that contain a sentence and a digital illustration.

The campaign — known as “No soy tu chiste” in Spanish — has appeared in the U.S., Venezuela, Brazil, Australia, Uganda, Russia and two dozen other countries around the world. Arzola’s posters have also been translated into English, Portuguese and 18 other languages.

“It’s about being different,” Arzola told the Washington Blade on April 14 during an interview at Amherst College where an LGBT student group had invited him to speak.

Katy Perry selected several of Arzola’s posters for Madonna’s Art for Freedom, a project for which she is a guest curator.

Arzola told the Blade that his life changed when Madonna tweeted a picture of one of them on Oct. 8, 2013.

“At that moment ‘I’m Not a Joke’ was not only for activists,” said Arzola. “I received a lot of interview (requests) from a lot of countries. And the people from Venezuela who hate me knew my work because Madonna made that tweet.”

“It’s a little cliché but Madonna changed my life,” he added.

‘They tried to burn me alive’

Arzola, 26, grew up in Maracay, a city that is roughly 70 miles south southwest of the Venezuelan capital of Caracas.

Arzola, who has an older brother, told the Blade that he was a “very shy” and “lonely” child. He said that he used “art to communicate with other people.”

“If I liked you, I preferred to give you (a drawing) than to talk to you,” said Arzola.

Arzola said he came out to his mother when he was 5, telling her that he liked a boy in his kindergarten class.

“I told her and she beat me,” said Arzola.

Arzola told the Blade that his mother, who is a teacher, is “not homophobic anymore.” He said she now wears a t-shirt that promotes his art in her classroom.

“She’s like my biggest fan all the time,” said Arzola.

Arzola said that three of his neighbors attacked him when he was 15.

He told the Blade that they took off his pants and shoes before tying him to a telephone poll with cables. Arzola said he was able to escape when one of his attackers tried to find gasoline to set him on fire.

He told the Blade that his assailants destroyed all of his drawings.

“They tried to burn me alive because that’s the way that some people in Venezuela react to the differences in another person,” Arzola told the Blade. “It’s not only if you’re gay.”

Arzola said he was unable to draw for the next six years “until one day I understood that my story is not the only story and I had the luck to escape and survive.” He told the Blade that an 18-year-old man from Maracay who was attacked because of his sexual orientation suffered burns over nearly 50 percent of his body.

“There’s a lot of people burning people alive or hurting other people in Venezuela for being gay,” said Arzola.

The U.N. Office on Drugs and Crime notes that Venezuela has one of the world’s highest homicide rates. A deepening economic crisis has caused a shortage of basic goods, triple-digit inflation and growing political and social instability.

Tamara Adrián, a Caracas lawyer who is a member of Popular Will, a left-leaning party, in December became the first openly trans person elected to the Venezuelan National Assembly. Anti-LGBT violence and discrimination remains pervasive in the South American country in spite of this historic election.

Arzola, who studied graphic design and art in Venezuela, told the Blade that he wanted to use art as a way to challenge anti-gay violence and homophobia in his homeland.

“This is the way that artivism burns in my head,” he said. “I need to fight violence with other things and in Venezuela being gay is always in the media. People laugh about being LGBT, so I was wondering (about) when we start to laugh about tragedy, about the pain of others. In Venezuela people are always saying that, ‘We’re so cool because we find a joke in everything.’ But that everything sometimes includes the pain of others.”

“That’s where the name ‘I’m Not a Joke’” comes in,” added Arzola. “I want to talk with people like you and me, so I’m not your joke. I’m not a joke.”

Threats forced Arzola to move to Chile

Arzola told the Blade that he began to receive threats because of his art and advocacy.

“I had to leave Venezuela because of threats,” he said. “When ‘I’m Not a Joke’ started to be so famous I had the opportunity to talk to so many media, so I exposed the government and the homophobia in Venezuela.”

Arzola met Jaime Parada — a Chilean LGBT rights advocate who became the first out candidate elected to public office in the South American country in 2012 when he won a seat on the Providencia Municipal Council in Santiago — in 2014 during a trip to Buenos Aires.

Arzola moved to Santiago, which is the Chilean capital, in April 2015. He now lives in Providencia — a wealthy Santiago enclave — and works for the municipal government.

“I like Santiago,” Arzola told the Blade. “It’s the first time in my life I have experienced peace…and for me it’s something new. For me it’s very weird being in my bed without fear.”

“For me coming from the chaos in Venezuela and being in Providencia is like, ‘Oh yeah. I create all the time with chaos and now I am in peace. I’m like, what should I do now?’” he added. “I don’t know what to do with so much peace. I’m still creating.”

Gay Venezuelan “artivist” Daniel Arzola is behind “I’m Not a Joke,” a series of pictures that seek to combat homophobia, racism and other forms of discrimination. (Images courtesy of Daniel Arzola)

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Madonna headlines World Pride Music Festival in Amsterdam

Kylie Minogue made surprise appearance alongside gay icon

Published

57 minutes ago

August 2, 2026

Michael K. Lavers

Kylie Minogue with Madonna at the World Pride Music Festival in Amsterdam on Aug. 2, 2026. (Photo courtesy of Cejlon Studio)

AMSTERDAM — Madonna on Sunday headlined the final night of the World Pride Music Festival in Amsterdam.

The gay icon took the stage shortly before 2:30 a.m. local time (8:30 p.m. ET on Saturday) during Club Confessions, a set that MISTR, a telehealth platform that offers free access to PrEP, Doxy PEP, STI testing, and long-term HIV care, organized.

“Mother is here and this is gay heaven,” said Madonna when she took the stage inside Amsterdam’s AFAS Live concert hall that can hold up to 6,000 people.

Stuart Price, who produced Madonna’s 2005 “Confessions on a Dance Floor” album and “Confessions II,” which debuted on July 2, DJed the set.

Kylie Minogue made a surprise appearance. She and Madonna performed a new remix of “Love Sensation” from “Confessions II.”

(Washington Blade video by Michael K. Lavers)

“Throughout my career, I’ve always supported efforts to fight HIV and AIDS, and that fight begins with education and access,” said Madonna in a MISTR press release. “With MISTR, (CEO) Tristan (Schukraft) is expanding access to HIV prevention and sexual healthcare for everyone. Through this work, he’s helping preserve and strengthen LGBTQ+ spaces while investing in the communities and culture that have long sustained us.”

Minogue in an Instagram post thanked Madonna, Price, Schukraft, and MISTR.

View this post on Instagram

A post shared by Kylie Minogue (@kylieminogue)

Madonna appeared at The Abbey in West Hollywood, Calif., in April. Madonna in June celebrated Pride month with a pop-up performance in New York’s Times Square.

Jake Resnicow and Insomniac produced the World Pride Music Festival that also featured Bebe Rexha and Paris Hilton, among others.

“Pride has always been about bringing our community together,” said Resnicow. “At a moment when too many people are being told to hide or make themselves smaller, gathering openly, joyfully, and without apology matters more than ever. I couldn’t be prouder of what this festival brought to life in Amsterdam — one dance floor, completely free.”

Theater

Reggie White relishing first season as artistic director of Woolly Mammoth

First five shows a reminder that ‘pressure is a privilege’

Published

10 hours ago

August 2, 2026

Patrick Folliard

Reggie D. White (Photo by Ambe J. Williams)

Madly talented and preternaturally energetic, Reggie D. White, 38, is about to launch his first season as artistic director of D.C.’s boundary-pushing Woolly Mammoth Theatre Company.

White brings a lot to the job. As actor, playwright, and director, his varied resume includes a 2019 Broadway acting debut in Matthew López’s Tony Award–winning play “The Inheritance,” his semi-autobiographic play “Fremont Ave.” that opened to acclaim last season at Arena Stage, and a number of exciting regional directing credits.

A longtime admirer of Woolly, the out theater-maker was selected from a pool of candidates before receiving the offer last November and starting work in January. His season of five world premieres kicks off with gay playwright Steve Yockey’s “Venus” (Sept. 9-Oct. 4), a darkly funny study of modern relationships told through two lesbians looking back on their first encounter.

White was introduced to Woolly Mammoth as a pre-law student at Cal State Hayward in the San Francisco Bay Area, long before he foresaw a life in the arts. “As part of a random theater history course, I was assigned to write a paper on a counterculture company called Woolly Mammoth,” he recalls “Strange name. I was like what the hell is that?”

Nineteen-year-old White was intrigued. Research acquainted him with Howard Shalwitz who co-founded Woolly in 1980, and the company’s commitment to living playwrights and new work. He also learned how theater could be used as a tool for difficult conversations and shape the way people thought about social issues by employing imagination and rigor.

“Never in a million years did young me envision that one day I’d be Woolly’s third artistic director in its 46-year history,” says White. “It’s kind of serendipitously insane.”

WASHINGTON BLADE: Was there a moment when the enormity of the job hit you?

REGGIE D. WHITE: After I’d signed my contract and finished all the paperwork, I got my keys and sat in the theater by myself in the dark and thought about what an incredible honor it is to be trusted with what happens in this beautiful space [in D.C.’s Penn Quarter]. I might have cried. Sometimes I have to pinch myself to remember it’s real.

BLADE: Are you curating the upcoming 2026–2027 season?

WHITE: Yes, I am. It’s very rare that an incoming artistic director gets to program their first season, but I was lucky in terms of time. After being hired late last year, I asked Woolly’s managing director Kimberly E. Douglas, if she thought it would be crazy if I programmed the season. She warned me it would be hard.

I invoked tennis legend Billie Jean King’s maxim “pressure is a privilege” and got to work.

These plays [dubbed White’s “first five”] represent both the kind of theater that Woolly can do really well and speak directly to my voice as curator and how I want to contribute to the larger theatrical conversation in the DMV.

Getting here has meant a lot of late nights. But I knew the juice would be worth the squeeze.

BLADE: As a queer artistic director, what makes you unique?

WHITE: When I was playing in “Inheritance” on Broadway, after a performance, U.S. Supreme Court Justice Sotomayer came backstage to meet the cast. She spoke about how her lens on the world as a Puerto Rican woman shapes her decisions. Similarly, because I’m a queer Black man I see through a lens that shapes my work.

I know I’m not the only queer artistic director in town. For me, it influences how I make editorial decisions. Out of this season’s five plays there are explicitly queer characters in four [“Venus,” “Chanukkah Spectacular,” “Ten Grand,” and “Love I Awethu Further”] and I’m directing two [“Venus,” “Ten Grand”].

BLADE: Will we see familiar faces?

WHITE: Every show this season will feature a Woolly Mammoth company member in its cast. Our company also includes designers and directors who we’ll include. I’m invested in continuing to provide a showcase for their work.

BLADE: How do you think queer audiences will receive the season?

WHITE: Very well, I think. For queer people who’ve had to navigate the world subversively and solve problems in unique ways, I think it will be especially interesting. I find theater a potent place for questions.

Like all artistic directors. I’ll show up for the job in my own way. I’m just excited that I’ve been invited to bring the fullness of myself to the role.