TELEVISION REVIEW : KPBS-TV Show Focuses on Artists Who Attack Folklore of Columbus : History: ‘1492 Revisited’ uses works of of San Diego artists in re-examining the Columbus legend.

Christopher Columbus was no hero.

Let’s face it. The concept of a hero “discovering” America is as much a fairy tale as “Peter Pan,” as many scholars have noted in recent years. Yet it continues to be presented as fact, drubbed into the minds of youngsters.

“1492 Revisited,” a half-hour special produced by KPBS-TV (Channel 15) that airs tonight at 8, prods the audience to examine other aspects of the man who “sailed the ocean blue” and to rethink the consequences of his act. The show focuses on the work and words of artists involved in the “Counter Colon-ialismo” exhibit staged last fall at the Centro Cultural de la Raza in Balboa Park.

During this year, which marks the quincentenary of Columbus’ first voyage, every aspect of the Columbus myth is being torn apart and dissected by major films, documentaries and articles.

To many, Columbus is an evil conqueror. For good reason, they resent the premise that Europeans “discovered” the people in the Americas, and they point to the arrogance of forcing “civilization” on Native Americans.

The oft-told tale of Columbus is a racist and cruel myth rooted in the colonial concepts that shaped the world and enslaved populations for centuries. “1492” challenges viewers to look beyond the simple and accepted concept of Christopher Columbus, explorer.

As the artists point out, history’s portrait of Columbus was largely developed through art, in images passed down from generation to generation. The old views flash across the screen: Columbus as a dandy hero, savage Indians bowing at his feet, begging to be saved.

It is easy to tweak the image just a little and create a completely different impression. In Alfred Quiroz’ satirical painting “Christopher Columbus Discovers America,” the conquerors are depicted meeting the Indians as they land on the shores of America. But instead of regal figures, they are bug-eyed wild men with their knives at the throats of the Indians.

In vastly different ways, the artists’ words and their works play off the myths about Columbus.

“Anybody who sees the show will be challenged by its juxtaposition of different images, the juxtaposition of things that don’t, quote, unquote, normally fit,” says Alurista, who is described in the program only as a scholar.

Produced by Paul Espinosa and co-directed by Espinosa and Jeffrey Betts, who also is credited as photographer and editor, “1492 Revisited” dramatically presents the artworks. Unencumbered by a narrator, the program glides along, accented by short comments from the artists and various scholars.

The show allows the audience to discover the work. The camera slowly pans across each piece, fading in and out and revealing each nuance. The musical soundtrack composed by Frederick B. Lanuza provides the perfect accompaniment, ranging from driving jungle rhythms and jaunty salsa flavored arrangements, depending on the mood of the work.

Many of the artworks will shock traditionalists for the way they condemn Columbus and his cohorts. Others explore less traditional territory.

In “Nina and the Little Boy,” David Avalos positions a replica of the first atomic bomb above a replica of Columbus’ ship Nina, connecting ancient colonialism and modern day global struggles.

Karen Atkinson’s “Postcards From Paradise: The Language of Discovery” uses postcards to draw parallels between the way tales of explorers and the modern tourism industry both use words of seduction to convey thoughts.

Several of the pieces use simple words as well as images. In one, a quote from Columbus ordering his charges to cut off the ears of any Indian caught stealing jumps out at the viewer. Vicky Meek inscribed words on Levelor blinds, which, when opened, reveal such phrases as “We saved you.”

The artists don’t confine themselves to the simple tales of Columbus’ journey, they examine how many of the barbaric elements of Anglo society 500 years ago are still true today, particularly three -isms--racism, militarism and sexism.

“If the issue of 1492 was only couched in historical terms, then all we’re doing is sort of arguing about history,” Atkinson says. “We’re not really arguing about how those things still exist today.”

The artists do not present an alternate history. They simply try to provoke thought, to make people realize that there is another dimension to the tale.

In defending his much-maligned “JFK,” filmmaker Oliver Stone often described the film as a “counter-myth.” History has allowed selective information to develop what he calls one myth--that Lee Harvey Oswald was a lone assassin. In his film, he simply used different information to create a different view.

You didn’t have to believe all of Stone’s ideas to understand that “JFK” is simply speculation, an alternative to the common wisdom.

In much the same manner, the artists provide a surprisingly provocative and challenging vehicle to tear down some of the myths. And “1492 Revisited” does the topic justice, presenting it with style and thought.

It would have been nice to know a little bit more about the speakers, but that’s nit-picking. “1492” is a powerful statement, much like the art it features.

Viewers might actually come away with a different view of Columbus.

“You have to remember, the man was lost,” Alurista says.