Digital Guide to Resources on Latin America and World History
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LIBRARY OPENS CENTER for YOUNG READERS by Kimberly Rieken
September - December 2009 LIBRARY OPENS CENTER FOR YOUNG READERS By Kimberly Rieken The Library of Congress, for the first time in its history, has a space devoted to the reading interests of children and teens in its historic Thomas Jefferson Building. On Oct. 23, Librarian of Congress James H. Billington welcomed a group of young people, parents and others to the new Young Readers Center, in Room LJ G-31, ground floor of the Thomas Jefferson Building. “We want you and other young readers to have a place where you can gain an introduction to the wonders of your nation’s library,” Billington told the children gathered in the center. The Librarian, with the help of Mrs. Billington, introduced the book “Moomin Troll” by Tove Jansson, from which the Billingtons read to the children. Rep. Debbie Wasserman Schultz, D-Fla., and her children and Rep. Robert Aderholt, R-Ala., and his son helped open the new center. A mother of three, the congresswoman said she was honored to be at the opening. “There’s nothing like an event in Washington with children,” she said. Stressing the importance of Center for the Book the Library for readers of all ages, she said, “We need to be able to inspire the Newsletter next generation of readers in the greatest library in the world.” Children gathered The Center for the Book’s around and listened intently as the congresswoman and her children read one of networks of state centers their favorite books, “Pinkalicious” by Elizabeth Kann and Victoria Kann. and reading promotion part- M.T. -
Listening to Gabriel García Márquez
PODCAST – “LA BIBLIOTECA” An exploration of the Library’s collections that focus on the cultures of Spain, Portugal, Latin America, and the Hispanic community in the US. SEASON 1/Episode 8 Listening to Gabriel García Márquez Catalina: ¡Hola! and welcome to “La biblioteca” An exploration of the Library of Congress’ collections that focus on the cultures of Spain, Portugal, Latin America, and the Hispanic community in the United States. I am Catalina Gómez, a librarian in the Hispanic Reading Room. Talía: And I am Talía Guzmán González, also a librarian in the Hispanic Reading Room. ¡Hola Catalina! CG: ¡Hola Talía! This is the last episode from this, our first season, which focused on some of our material from our Archive of Hispanic Literature on Tape, a collection of audio recordings of poets and writers from the Luso-Hispanic world reading from their works which has been curated here at the Library of Congress. We truly hope that you have enjoyed our conversations and that you have become more interested and curious about Luso-Hispanic literature and culture through listening to our episodes. Today, we will be discussing our 1977 recording with Colombian Nobel Laureate Gabriel García Márquez, or Gabo, as some of us like to call him (which is how we Colombians like to call this monumental author). TGG: We all like to call him el Gabo, in Latin America. He’s ours. CG: So García Márquez was born in Aracataca, Colombia in 1928. He is the author of more than ten novels and novellas, including Cien años de soledad, One Hundred Years of Solitud from 1967, El otoño del patriarca, The Autumn of the Patriarch, from 1975, and El amor en los tiempos del cólera, Love in the Time of Cholera from 1985. -
OLLI NEWS — May 14, 2021
OLLI NEWS — May 14, 2021 Summer Registration Is Open Books for Summer Classes Summer Zoom Trainings Spring SGL Gifts May 18 Lecture: Marie Arana May 20 Lecture: Daniel Goldman Summer & Fall Music-Theatre Group Virtual Music Event: Mozart & the King Bloomsday Celebration Virtual Tour: Rome, Italy Gandhi Center: Series on Indian Art F. Scott Fitzgerald Festival June Minis (6/7-7/2) June Minis meet once a week for 4 weeks over Zoom. Members can register for 3 courses for $100. We have moved the June Minis Lottery to Friday, May 21. Assignment letters will be e-mailed Friday or the following Monday. Last day for course changes and refunds is Friday, June 11. Requests for refunds must be made in writing (email is fine) by close of business, Friday, June 11. Register before Lottery Day, Friday, May 21. July Shorts (7/12-7/16) Shorts meet over Zoom 3, 4, or 5 times within the one week. Members can register for 3 courses for $75. The July Shorts Lottery will be held on Monday, June 21. Assignment letters will be e-mailed the following day. Last day for course changes and refunds is Friday, July 9. Requests for refunds must be made in writing (email is fine) by close of business, Friday, July 9. Register before Lottery Day, Monday, June 21. As usual, OLLI is working with Politics and Prose for books this summer. To purchase books for classes, members can do any of the following: Order from their website Call 202-364-1919 to order over the phone Visit Politics and Prose in person at 5015 Connecticut Ave NW If purchasing books via their website, mention in the notes field that the book is for an OLLI course. -
1 Hip Hop Latinidades: More Than Just Rapping in Spanish 2
contents Foreword: A Little Hip Hop History from the Bronx and Beyond ix MARK D. NAISON Acknowledgments xiii Part I Undefining Hip Hop Latinidades 1 Hip Hop Latinidades: More Than Just Rapping in Spanish 3 MELISSA CASTILLO- GARSOW and JASON NICHOLS 2 Borderland Hip Hop Rhetoric: Identity and Counterhegemony 17 ROBERT TINAJERO 3 ¡Ya basta con Latino!: The Re-Indigenization and Re-Africanization of Hip Hop 41 PANCHO McFARLAND and JARED A. BALL Part II Whose Black Music?: Afro- Latinidades and African Legacies in Latin American and Latino Hip Hop 4 From Panama to the Bay: Los Rakas’s Expressions of Afrolatinidad 63 PETRA R. RIVERA- RIDEAU 5 Bandoleros: The Black Spiritual Identities of Tego Calderon and Don Omar 80 JASON NICHOLS 6 “Te llevaste mi oro”: ChocQuibTown and Afro- Colombian Cultural Memory 90 CHRISTOPHER DENNIS 7 Now Let’s Shake to This: Viral Power and Flow from Harlem to São Paulo 108 HONEY CRAWFORD v vi • CONTENTS Part III Chicano? Mexican?: On the Borderlands of Mexican and Mexican American Hip Hop 8 Collective Amnesia 125 BOCAFLOJA 9 “Yo soy Hip Hop”: Transnationalism and Authenticity in Mexican New York 133 MELISSA CASTILLO- GARSOW 10 Graffiti and Rap on Mexico’s Northern Border: Observing Two Youth Practices— Transgressions or Reproductions of Social Order? 153 LISSET ANAHÍ JIMÉNEZ ESTUDILLO TRANSLATED BY JANELLE GONDAR 11 Somos pocos pero somos locos: Chicano Hip Hop Finds a Small but Captive Audience in Taipei 172 DANIEL D. ZARAZUA Part IV Somos Mujeres, Somos Hip Hop 12 Chicana Hip Hop: Expanding Knowledge in the L.A. Barrio 183 DIANA CAROLINA PELÁEZ RODRÍGUEZ TRANSLATED BY ADRIANA ONITA 13 Daring to Be “Mujeres Libres, Lindas, Locas”: An Interview with the Ladies Destroying Crew of Nicaragua and Costa Rica 203 JESSICA N. -
Guide to the Raquel Z. Rivera Hip Hop/ Reggaetón Collection
Guide to the Raquel Z. Rivera Hip Hop/ Reggaetón Collection Archives of the Puerto Rican Diaspora Centro de Estudios Puertorriqueños Hunter College, CUNY 2180 Third Avenue @ 119th St., Rm. 120 New York, New York 10035 (212) 396-7877 www.centropr.hunter.cuny.edu Descriptive Summary Resumen descriptivo Creator: Raquel Z. Rivera, 1972- Creador: Raquel Z. Rivera, 1972- Title: The Raquel Z. Rivera Hip Hop/ Reggaetón Título: The Raquel Z. Rivera Hip Hop/ Reggaetón Collection Collection Inclusive Dates: 1977-2008 Años extremos: 1977-2008 Bulk Dates: 1995-2003 Período principal: 1995-2003 Volume: 9 cubic feet Volumen: 9 pies cùbicos Repository: Archives of the Puerto Rican Diaspora, Repositorio: Archives of the Puerto Rican Diaspora, Centro de Estudios Puertorriqueños Centro de Estudios Puertorriqueños Abstract: The Raquel Z. Rivera Hip Hop/ Reggaetón Nota de resumen: La Colección de Hip Hop y Collection helps document Puerto Rican contributions Reggaetón de Raquel Z. Rivera, documenta la to the creation and development of hip hop and contribución puertorriqueña a la creación y el reggaetón both in the United States and Puerto Rico. desarrollo del hip hop y el reggaetón tanto en los Highlights of the collection include an extensive Estados Unidos como en Puerto Rico. Parte importante audiocassette and compact disc collection, essays de la colección incluye una extensa compilación de written by Rivera on hip hop and reggaetón and paper cintas de audio y discos compactos, ensayos sobre hip documentation on numerous artists. hop y reggaetón escritos por Rivera y documentación en papel sobre varios artistas. Administrative Information Información administrativa Collection Number: 2005-07 Número de colección: 2005-07 Provenance: Raquel Z. -
Julia Alvarez
Julia Alvarez: An Inventory of Her Papers at the Harry Ransom Center Descriptive Summary Creator: Alvarez, Julia Title: Julia Alvarez Papers Dates: 1963-2014 (bulk 1983-2011) Extent: 224 document boxes, 7 oversize boxes (osb) (106 linear feet), 3 oversize folders (osf), 252 bound volumes (bv), 20 computer disks Abstract: The papers document all major writings by author and poet Julia Alvarez and include notes, typescripts, periodicals, photographs, background research, publicity materials, and electronic files. Editorial, business, and personal correspondence are also present. Call Number: Manuscript Collection MS-5311 Language: English, Spanish Access: Open for research Certain restrictions apply to the use of electronic files. Please contact the Ransom Center well in advance of your visit if you are interested in accessing this type of material (email: [email protected]). Access to original computer disks and forensic disk images is restricted. Restrictions on Use: Copying electronic files is not permitted. Staff will make a good faith effort to retrieve electronic files from digital media but in certain cases, due to technological obsolescence or file degradation, data may be inaccessible. Administrative Information Acquisition: Purchase and Gift, 2013-2014 (13-03-009-P, 14-04-009-G) Processed by: Micah Erwin, 2015 and Grace Hansen, 2016 Repository: Harry Ransom Center, The University of Texas at Austin Alvarez, Julia Manuscript Collection MS-5311 Biographical Sketch The daughter of native Dominicans, Julia Alvarez was born in New York City in 1950. Within three months of her birth her parents decided to return to their homeland overthrow American-backed dictator Rafael Leonidas Trujillo. The family was forced to flee the Dominican Republic in 1960 when his involvement in a plot to assassinate the dictator was uncovered. -
Dominicanyorks, Identity and Popular Music
City University of New York (CUNY) CUNY Academic Works Publications and Research Guttman Community College 2006 A Country That Ain’t Really Belong To Me’: Dominicanyorks, Identity and Popular Music Angelina Tallaj How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/nc_pubs/93 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] “A Country That Ain’t Really Belong To Me”: Dominicanyorks, Identity and Popular Music Angelina Tallaj I. El Retorno de los Cadenuces In his 2004 rap, ―American Dream,‖ New York-based Dominican hip-hop artist, Cruz, raps about the difficulties of living in the United States. Trying hard just to fit in… Thinking that you know but you do not know who you are… Stuck in this country… Trying to find a sense of identity in a country that ain‘t really belong to me. Cruz represents a new generation of Dominicans who, while living in New York City, come to realize the complexity and ambiguity of their new social, ethnic and racial status. While Dominicans have traditionally neglected their African ancestry, in New York they undergo an increasing awareness of their racial ethnicity which leads them to a new Afro-Latino identity. Many of the issues involved in this shift are reflected by and enacted through music and music cultures, and in recent years New York Dominicans have used previously marginalized forms of music to form a new Dominican identity in both the United States and in the Dominican Republic. -
Chapter 1—Introduction
NOTES CHAPTER 1—INTRODUCTION 1. See Juan Flores, “Rappin’, Writin’ & Breakin,’” Centro, no. 3 (1988): 34–41; Nelson George, Hip Hop America (New York: Viking, 1998); Steve Hager, Hip Hop: The Illustrated History of Breakdancing, Rapping and Graffiti (New York: St. Martin’s Press, 1984); Tricia Rose, Black Noise: Rap Music and Black Culture in Contemporary America (Hanover, NH: Wesleyan University Press, 1994); David Toop, The Rap Attack 2: African Rap to Global Hip Hop (London: Serpent’s Tail, 1991). 2. Edward Rodríguez, “Sunset Style,” The Ticker, March 6, 1996. 3. Carlito Rodríguez, “The Young Guns of Hip-Hop,” The Source 105 ( June 1998): 146–149. 4. Clyde Valentín, “Big Pun: Puerto Rock Style with a Twist of Black and I’m Proud,” Stress, issue 23 (2000): 48. 5. See Juan Flores, Divided Borders: Essays on Puerto Rican Identity (Hous- ton: Arte Público Press, 1993); Bonnie Urciuoli, Exposing Prejudice: Puerto Rican Experiences of Language, Race and Class (Boulder, CO: West- view Press, 1996). 6. See Manuel Alvarez Nazario, El elemento afronegroide en el español de Puerto Rico (San Juan: Instituto de Cultura Puertorriqueña,1974); Paul Gilroy, The Black Atlantic: Modernity and Double Consciousness (Cam- bridge, MA: Harvard University Press, 1993); Marshall Stearns, The Story of Jazz (Oxford: Oxford University Press, 1958); Robert Farris Thompson, “Hip Hop 101,” in William Eric Perkins, ed., Droppin’ Sci- ence: Critical Essays on Rap Music and Hip Hop Culture (Philadelphia: Temple University Press, 1996), pp. 211–219; Carlos “Tato” Torres and Ti-Jan Francisco Mbumba Loango, “Cuando la bomba ñama...!:Reli- gious Elements of Afro-Puerto Rican Music,” manuscript 2001. -
Latino Artistic Expression
ion ess L xpr atino istic e art s her teac A e for n educational resource guid tary Base umen d on excerpts from the PBS doc re Vis d Cultu iones: Latino Arts an e p ultur roduced and C by National Association of Latino Arts Sponsored by Target Celebrate Hispanic Heritage Hispanic Heritage Month begins September 15, and Target wants the world to celebrate. Explore the many ways Latino artists have shaped American culture—from lively Latin rhythms to festive mural art. The arts have the power to unite communities. That’s why Target strives to make the arts accessible to all, giving back $2 million a week to communities nationwide. Partnering with the National Association of Latino Arts and Culture (NALAC), Target has developed resources to help teachers bring Hispanic Heritage Month into their classrooms. Drawing on NALAC’s award winning documentaries, these materials showcase the legacy of Hispanic artists in music, theater, dance and the visual arts. We hope you find the enclosed materials helpful as you celebrate Hispanic Heritage Month in your classroom. Thank you for making a real difference in the lives of children. Target is the proud sponsor of National Association of Latino Arts and Culture Latino culture THE ARTS Latino art and culture speak to the spirit. Teachers have an opportunity to help students under- stand artistic expression in a way that makes every Through active engagement in the arts, we can student take pride in his or her culture while gaining experience the full spectrum of human emotion respect and appreciation for the art and customs of and diversity. -
Cahiers D'études Africaines
Cahiers d’études africaines 216 | 2014 Musiques dans l’« Atlantique noir » Urban Bachata and Dominican Racial Identity in New York Bachata urbaine et identité raciale dominicaine à New York Deborah Pacini Hernandez Electronic version URL: http://journals.openedition.org/etudesafricaines/17927 DOI: 10.4000/etudesafricaines.17927 ISSN: 1777-5353 Publisher Éditions de l’EHESS Printed version Date of publication: 5 October 2014 Number of pages: 1027-1054 ISSN: 0008-0055 Electronic reference Deborah Pacini Hernandez, « Urban Bachata and Dominican Racial Identity in New York », Cahiers d’études africaines [Online], 216 | 2014, Online since 21 January 2017, connection on 03 May 2019. URL : http://journals.openedition.org/etudesafricaines/17927 ; DOI : 10.4000/etudesafricaines.17927 This text was automatically generated on 3 May 2019. © Cahiers d’Études africaines Urban Bachata and Dominican Racial Identity in New York 1 Urban Bachata and Dominican Racial Identity in New York Bachata urbaine et identité raciale dominicaine à New York Deborah Pacini Hernandez 1 Picture this : a music video opens with images of two stylishly dressed young dark- skinned men talking to each other by cell phone ; one of them is on a Manhattan rooftop, the other standing in the dark next to a chain link fence. They address each other as “homey”, “bro” and “playboy”, in language and speech patterns most viewers would instantly recognize as those associated with urban African Americans. It is clear the two men have many commonalities and are friends, as they confess their emotional vulnerability to the intense passion they feel for the women they are courting. It is not until 45 seconds into the video, when the music begins, that a crucial distinction between the two becomes apparent : one of them sings in Spanish, the other in English ; the former is a Dominican Latino1, the other, African American. -
"Pa'l Norte," "Sueño Americano" E "Ice El Hielo": Un Análisis Del Video Musical En El Desmontaje De La Retórica Anti-Inmigrante En Los Estados Unidos Aida M
Claremont Colleges Scholarship @ Claremont Scripps Senior Theses Scripps Student Scholarship 2016 "Pa'l Norte," "Sueño Americano" e "Ice El Hielo": Un Análisis del Video Musical en el Desmontaje de la Retórica Anti-Inmigrante en los Estados Unidos Aida M. Villarreal-Licona Scripps College Recommended Citation Villarreal-Licona, Aida M., ""Pa'l Norte," "Sueño Americano" e "Ice El Hielo": Un Análisis del Video Musical en el Desmontaje de la Retórica Anti-Inmigrante en los Estados Unidos" (2016). Scripps Senior Theses. Paper 884. http://scholarship.claremont.edu/scripps_theses/884 This Open Access Senior Thesis is brought to you for free and open access by the Scripps Student Scholarship at Scholarship @ Claremont. It has been accepted for inclusion in Scripps Senior Theses by an authorized administrator of Scholarship @ Claremont. For more information, please contact [email protected]. “PA’L NORTE,” “SUEÑO AMERICANO” E “ICE EL HIELO”: UN ANÁLISIS DEL VIDEO MUSICAL EN EL DESMONTAJE DE LA RETÓRICA ANTI- INMIGRANTE EN LOS ESTADOS UNIDOS by AIDA M. VILLARREAL-LICONA SUBMITTED TO SCRIPPS COLLEGE IN PARTIAL FULFILLMENT OF THE DEGREE OF BACHELOR OF ARTS PROFESSOR MARTHA GONZALEZ PROFESSOR RITA ALCALÁ PROFESSOR MARINA PÉREZ DE MENDIOLA APRIL 22, 2016 ACKNOWLEDGEMENTS I would like to begin by expressing my sincere gratitude to Martha Gonzalez. Your brilliant course, Fandango as a De-Colonial Tool, and your passion for the power, history, and performance of music inspired this thesis. Thank you to Vania Berrios, my incredible professor in Chile, your simple insistence on migration as a human right has driven my passion for this subject. To Rita Alcalá, thank you for making the time for my thesis despite being on sabbatical in the fall. -
Coalitions and Counternarratives to SB 1070 DISSERTATION
Creating Resistance on the Border: Coalitions and Counternarratives to S.B. 1070 DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Denise Ann Fuller Graduate Program in Women's Studies The Ohio State University 2017 Dissertation Committee: Mary Thomas, Advisor Guisela Latorre Theresa Delgadillo Copyrighted by Denise Ann Fuller 2017 Abstract With the passing of Arizona’s immigration bill S.B. 1070, the controversial “Papers Please” law ignited strong responses from its supporters and detractors. This dissertation focuses on the resistance to Arizona’s law by examining the role of artists in the protest movement. This dissertation examines films, both documentary and narrative; songs and their accompanying music videos; and the Sound Strike boycott of Arizona begun by prominent musicians in order to explore the discourse utilized by these groups in their protest of S.B. 1070. Through an analysis of visuals, narrative structure, lyrics, Facebook posts, and public press conferences, this dissertation argues that these creative productions change the discourse around immigration and undocumented immigrants. Focusing on undocumented immigrants as laborers, parents, and children, these artistic forms of protest create a counternarrative to the dangerous, violent, immigrant evoked by S.B. 1070 supporters. In film, music, and the Sound Strike boycott, artists emphasized the connection between racial profiling in S.B. 1070 to other fights against state surveillance and violence, calling for a multiracial, multiethnic coalition. This dissertation argues that the protests of S.B. 1070 show the opportunities and importance of coalitional building outside of identity groups while simultaneously recognizing that the reliance upon the heteronormative family and gender essentialism limits the protest both in coalitional opportunities and in protecting already marginalized undocumented immigrants.