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Justice and Injustice in Three Mexican-American Playwrights
MAN'S INHUMANITY TO MAN: JUSTICE AND INJUSTICE IN THREE MEXICAN-AMERICAN PLAYWRIGHTS by JOSHUA AL MORA, B.A., M.A. A DISSERTATION IN • SPANISH Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Accepted Dean of the Graduate School December, 1994 ACKNOWLEDGEMENTS I would like to take this time to thank the members of my dissertation committee: Dr. Janet Perez, Dr. Harley Oberhelman, Dr. Wendell Aycock and Dr. Roberto Bravo. A special thanks goes out to Dr. P6rez who worked very closely with me and spent many hours reading and editing my dissertation. A special note of thanks goes out to all of my committee members for their belief in me and their inspiration during what have been the most difficult times of my life. Thank you for offering your help and for all you did. A special thank you also to the Department of Classical and Modern Languages at Texas Tech University and the faculty and staff for all of your support and encouragement. Esta obra va dedicada a mi padre, que en paz descanse, y a mi madre quienes con mucha paciencia esperaron que yo terminara. Gracias a su fe y sus oraciones se cumplib esta obra. 11 TABLE OF CONTENTS ACKNOWLEDGEMENTS ii ABSTRACT iv I. INTRODUCTION 1 II. THE ROOTS OF CHICANO AND OTHER TERMS 40 III. THE WAR IN THE FIELDS 72 IV. THE STRUGGLE TO ENTER THE UNITED STATES 113 V. IN SEARCH OF RESPECT IN THE SCHOOLS 148 VI. -
The Chicano Movement in Houston and Texas: a Personal Memory
The Chicano Movement in Houston and Texas: A Personal Memory by Carlos Calbillo c/s 116th Annual Meeting The four major themes of “Chicanismo” are generally considered to be: (1) the power of the March 1–3, 2012 creative earth and labor upon it; (2) political transformation through collective efforts; Become a TSHA (3) strong familial ties extending back into Mesoamerican pre-history; and (4) spiritually- Member and Omni Houston Hotel influenced creative artistic imagination as reflected in the visual ARTS. Receive FREE Keynote Address: Civil Rights in Texas ell, what a long and strange trip it was, or should I say, and white ministers, priests, a rabbi or two in attendance, I Whas been. Carlos Guerra is gone, Lupe Youngblood became curious to see if I could find any Latinos in the large Registration* by Darlene Clark Hine, Ph.D., Northwestern University is gone, Poncho Ruiz, El Tigre, Ernie Valdés. And Mateo crowd. To my surprise, I found only one, other than me. Vega, if not gone, is certainly missing in action or something I walked up to him after the march and introduced like that. These names are some of the brothers; there were myself to Leonel J. Castillo. He would eventually become also sisters that I worked with in the movement beginning the first Latino in Houston elected to city-wide office as city in, for me, April 1968. controller. Subsequently, he became the first Latino com- Sessions Speakers Exhibitors The Chicano movement of the 1960s and 1970s was es- missioner of the Immigration and Naturalization Service, sentially a grassroots community insurrection and rebellion appointed by President Jimmy Carter. -
1998 Acquisitions
1998 Acquisitions PAINTINGS PRINTS Carl Rice Embrey, Shells, 1972. Acrylic on panel, 47 7/8 x 71 7/8 in. Albert Belleroche, Rêverie, 1903. Lithograph, image 13 3/4 x Museum purchase with funds from Charline and Red McCombs, 17 1/4 in. Museum purchase, 1998.5. 1998.3. Henry Caro-Delvaille, Maternité, ca.1905. Lithograph, Ernest Lawson, Harbor in Winter, ca. 1908. Oil on canvas, image 22 x 17 1/4 in. Museum purchase, 1998.6. 24 1/4 x 29 1/2 in. Bequest of Gloria and Dan Oppenheimer, Honoré Daumier, Ne vous y frottez pas (Don’t Meddle With It), 1834. 1998.10. Lithograph, image 13 1/4 x 17 3/4 in. Museum purchase in memory Bill Reily, Variations on a Xuande Bowl, 1959. Oil on canvas, of Alexander J. Oppenheimer, 1998.23. 70 1/2 x 54 in. Gift of Maryanne MacGuarin Leeper in memory of Marsden Hartley, Apples in a Basket, 1923. Lithograph, image Blanche and John Palmer Leeper, 1998.21. 13 1/2 x 18 1/2 in. Museum purchase in memory of Alexander J. Kent Rush, Untitled, 1978. Collage with acrylic, charcoal, and Oppenheimer, 1998.24. graphite on panel, 67 x 48 in. Gift of Jane and Arthur Stieren, Maximilian Kurzweil, Der Polster (The Pillow), ca.1903. 1998.9. Woodcut, image 11 1/4 x 10 1/4 in. Gift of Mr. and Mrs. Frederic J. SCULPTURE Oppenheimer in memory of Alexander J. Oppenheimer, 1998.4. Pierre-Jean David d’Angers, Philopoemen, 1837. Gilded bronze, Louis LeGrand, The End, ca.1887. Two etching and aquatints, 19 in. -
Oscar Zeta Acosta's Paratextual Struggle for Survival Allison Fagan James Madison University, [email protected]
James Madison University JMU Scholarly Commons English College of Arts and Letters 2016 "La vida es el honor y el recuerdo": Oscar Zeta Acosta's Paratextual Struggle for Survival Allison Fagan James Madison University, [email protected] Follow this and additional works at: http://commons.lib.jmu.edu/eng Part of the American Literature Commons, Chicana/o Studies Commons, and the Latina/o Studies Commons Recommended Citation Fagan, Allison. "La vida es el honor y el recuerdo": Oscar Zeta Acosta's Paratextual Struggle for Survival." College Literature 43.2 (2016). 310-341. This Article is brought to you for free and open access by the College of Arts and Letters at JMU Scholarly Commons. It has been accepted for inclusion in English by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. James Madison University JMU Scholarly Commons English College of Arts and Letters 2016 "La vida es el honor y el recuerdo": Oscar Zeta Acosta's Paratextual Struggle for Survival Allison Fagan Follow this and additional works at: http://commons.lib.jmu.edu/eng Part of the American Literature Commons, Chicana/o Studies Commons, and the Latina/o Studies Commons This Article is brought to you for free and open access by the College of Arts and Letters at JMU Scholarly Commons. It has been accepted for inclusion in English by an authorized administrator of JMU Scholarly Commons. For more information, please contact [email protected]. “LA VIDA ES EL HONOR Y EL RECUERDO”: OSCAR ZETA ACOSTA’S PARATEXTUAL STRUGGLE FOR SURVIVAL ALLISON FAGAN Dead or alive or even both, eh? That’s one thing they can’t take away from you. -
“Chale No, We Won't Go!”
3 “Chale No, We Won’t Go!” The Chicano Moratorium Committee The Vietnam War had a profound eVect on Chicano youth of the 1960s and ’70s. The high proportion of Mexican Americans Wghting and dying in Southeast Asia, coupled with these young people’s heightened aware- ness of social issues, led to a vigorous protest against the war. In this mael- strom of discontent, Rosalio Muñoz, a former UCLA student-body president and in 1968 a minority recruiter for the Claremont Colleges, received his induction orders in December of that year for the following September. “I was concerned and wanted to do something,” he later recalled, “but when I was drafted, and it happened to be for September 16, it catalyzed for me as . an opportunity to strike a blow against the war and the draft.”1 Though Muñoz’s initial motives were inherently selWsh, he quickly became convinced that he had “to do something for all Chicanos.”2 There was, Wrst of all, the symbolic importance of the day on which he was to report for induction: September 16 was Mexican Independence day. He had also already become disenchanted with the draft because of his experiences at the Claremont Colleges. The Chicano students whom he visited told him how draft boards tried to discourage them from considering college by telling them that student deferments were not available. These incidents only served to crystallize Muñoz’s sense of the war as an act of discrimination against Mexican Americans. As he 61 62 CHAPTER 3 saw it, “There were so few of us even qualiWed [to go to college] and those that were qualiWed they would try to discourage to get a defer- ment.” For him, “the horribleness of the war and discrimination against people and then the upsurge of peoples’ forces and of the Chicano Movement” created the climate necessary for a Chicano struggle against the conXict in Vietnam.3 Initially, Muñoz set out to organize protests against the draft, not the war. -
Spanish Perspectives on Chicano Literature: Literary and Cultural Essays Edited by Jesús Rosales and Vanessa Fonseca
GLOBAL LATIN/O AMERICAS Frederick Luis Aldama and Lourdes Torres, Series Editors All Rights Reserved. Copyright © The Ohio State University Press, 2017. Batch 1. All Rights Reserved. Copyright © The Ohio State University Press, 2017. Batch 1. Spanish Perspectives on Chicano Literature Literary and Cultural Essays EDITED BY Jesús Rosales and Vanessa Fonseca WITH A FOREWORD BY Francisco A. Lomelí THE OHIO STATE UNIVERSITY PRESS | COLUMBUS All Rights Reserved. Copyright © The Ohio State University Press, 2017. Batch 1. Copyright © 2017 by The Ohio State University. All rights reserved. Library of Congress Cataloging-in-Publication Data Names: Rosales, Jesús, 1955– editor. | Fonseca, Vanessa (Assistant professor of English), editor. | Lomelí, Francisco A., writer of foreword. Title: Spanish perspectives on Chicano literature : literary and cultural essays / edited by Jesús Rosales and Vanessa Fonseca ; with a foreword by Francisco A. Lomelí. Other titles: Global Latin/o Americas. Description: Columbus : The Ohio State University Press, [2017] | Series: Global Latin/o Americas | Includes bibliographical references. Identifiers: LCCN 2017011629 | ISBN 9780814213421 (cloth ; alk. paper) | ISBN 0814213421 (cloth ; alk. paper) Subjects: LCSH: American literature—Mexican American authors—History and criticism. | Mexican American literature (Spanish)—History and criticism. Classification: LCC PS153.M4 S68 2017 | DDC 810.9/86872073—dc23 LC record available at https://lccn.loc.gov/2017011629 Cover design by Larry Nozik Text design by Juliet Williams Type set in Myriad Pro The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials. ANSI Z39.48–1992. 9 8 7 6 5 4 3 2 1 All Rights Reserved. -
The Historic Chicano Moratorium: Aztlan's Warriors Keep Fighting for Their Rights 50 Years Later | AL DÍA News
The historic Chicano Moratorium: Aztlan's warriors keep fighting for their rights 50 years later | AL DÍA News SOCIAL ENG ESP ADVERTISEMENT The historic Chicano Moratorium: Aztlan's warriors keep fighting for their rights 50 years later (Left) The 1970 Chicano Moratorium march in Los Angeles. (Right) Chicano activist Lupe Cardona, president of the Association of Raza Educators-Los Angeles. Photo: George Rodríguez / Lupe Cardona. LEA EN ESPAÑOL The historic Chicano Moratorium: file:///safron/...s/Desktop/The historic Chicano Moratorium Aztlan's warriors keep fighting for their rights 50 years later AL DÍA News.htm[8/31/2020 1:57:10 PM] The historic Chicano Moratorium: Aztlan's warriors keep fighting for their rights 50 years later | AL DÍA News Aztlan's warriors keep fighting for their rights 50 years later Half a century has passed since the largest anti-war march by an ethnic group in the U.S. that was marked by police violence. What has changed after Black (& Brown) Lives Matter? 32 Shares "It was wonderful," the eyes of 74-year-old activist and historian Rosalío Muñoz, one of the organizers of the Chicano Moratorium on August 29, 1970, shine in front of the camera recalling the moment when LA Times journalist Ruben Salazar came up to him in the middle of the march, gave him a big hug and congratulated him for bringing together nearly 30,000 people marching By Beatriz García through the streets of East Los Angeles with banners showing slogans like "Aztlan," and "Stop the Chicano Genocide" could be read. August 28, 2020 No one sensed that just hours after the protesters began their pilgrimage in L.A.'s Belvedere Park, their anti-war proclamations were going to end in a pitched battle with hundreds of detainees, some 60 wounded and three dead, including Salazar, who was at The Silver Dollar, a local cafe, when the riots broke out and was hit by a tear-gas canister fired by the sheriff's deputy — the causes of his death remain obscure. -
National Chicano Moratorium March August 29 1970
NPS Form 10-900 OMB No. 1024-0018 United States Department of the Interior National Park Service National Register of Historic Places Registration Form This form is for use in nominating or requesting determinations for individual properties and districts. See instructions in National Register Bulletin, How to Complete the National Register of Historic Places Registration Form. If any item does not apply to the property being documented, enter "N/A" for "not applicable." For functions, architectural classification, materials, and areas of significance, enter only categories and subcategories from the instructions. 1. Name of Property Historic name: _National Chicano Moratorium March August 29, 1970___DRAFT____ Other names/site number: _Laguna Park, Salazar Park_____________________________ Name of related multiple property listing: Latinos in Twentieth Century California________________________________________ (Enter "N/A" if property is not part of a multiple property listing ____________________________________________________________________________ 2. Location Street & number: East Third St, Beverly Blvd, Atlantic Ave, Whittier Blvd, and Salazar Park City or town: _East Los Angeles___ State: _California__ County: _Los Angeles_______ Not For Publication: Vicinity: ____________________________________________________________________________ 3. State/Federal Agency Certification As the designated authority under the National Historic Preservation Act, as amended, I hereby certify that this nomination ___ request for determination of -
Chicana/O Studies
Chicana/o Studies Contacts 1. District Information Coachella Valley Unified School District 2. Course Contact A. Cover Page 1. Course Title Chicana/o Studies 2. Transcript Title Chicano Studies 3. Transcript Course Code 221730 4. Seeking Honors Distinction? (HS Only) No 5. Subject Area College Preparatory Elective (“G”) 6. Grade Levels 9th, 10th, 11th, 12th 7. Unit value 1.0 (one year, 2 semesters, or 3 trimesters equiv) 8. Was this course previously approved by UC? (HS Only) Yes. Desert Mirage High School 9. Is this course, or any section of this course, taught in an No online learning environment? 10. Is this course classified as a Career Technical No Education course: (HS Only) 11. Brief Course Description: The Chicana/o Studies course will examine the political, social and economic conditions that have impacted Chicana/o identity, and the historic events that have shaped Chicana/o communities in the United States. Moreover, this course provides Chicana/o history and experiences, with an emphasis on the intersections between culture, race, gender, social class, language, immigration, historical developments, and artistic/literary expression. Students will analyze the long-lasting effects of historical events related to the Chicana/o in society. Students will engage in academic activities to further understand the content of the course. Finally, this course will provide students a critical analysis of the Chicana/o efforts towards their continued struggle for social justice. 12. Prerequisites : None 13. Co-Requisites : None 14. Context for Course: Mexican-American History is a college preparatory elective that will help students fulfill the A-G requirements for a preparation and admission to a UC/CSU four-year university. -
Ruben Salazar Wednesday, March 3, 2021, at 4 P.M
Inflammatory Literature THE LEGACY OF AMERICAN JOURNALIST Ruben Salazar Wednesday, March 3, 2021, at 4 p.m. PT Live via Zoom University of Southern California Written by OLIVER MAYER Directed by EDGAR LANDA OBS Tech and Programming by JOE SHEA Cast: Ruben Salazar | HERBERT SIGUENZA Tecato, Car Salesman, Cesar Chavez | DAVID ZAYAS La Chencha, Borja, Octavio Paz | MARLENE FORTE The L.A. Times, JFK, Nixon | MATTHEW LILLARD The L.A. Times, Dr. Ruth Landes, Stokely Carmichael | CHASTITY DOTSON “Brown Eyed Children of the Sun” and “California Dreamin’” | ELLAS (Suemy Gonzalez, Nelly Cortez, and Melinda Salcido) Panelists: OLIVER MAYER ELDA MARÍA ROMÁN ROBERTO SURO BIOS: Chastity Dotson Chastity Dotson is an actor, writer, and activist. Credits include Imposters, Patriot, and Manifest. Dotson is the founder of 300FOR300, a nonprofit that is empowering the dreams of 300 girls of color through storytelling. She is a staff writer on AMC’s Ultra City Smiths. Marlene Forte Born in Havana, Cuba, Marlene Forte is an actress known most recently for her work in movies such as Knives Out, El Chicano, and The Way Back. On TV, she has been seen on Superstore, Good Girls, and The Conners, as well as Altered Carbon and Fear the Walking Dead. On stage, she is a founding member of LAByrinth Theater Company alongside David Zayas, and has worked on multiple new plays by Oliver Mayer and Luis Alfaro. Edgar Landa Edgar Landa is an actor/director and creates fights and violence for theatres large and small. He serves on the faculty for the USC School of Dramatic Arts and is the resident fight director for the school. -
Unearthing the Photos of La Raza, Unsung Chronicler of Chicano Stories in LA
(/) (/) The voice of journalism Unearthing the photos of La Raza, unsung chronicler of Chicano stories in LA Photo courtesy of the photographers and the UCLA Chicano Studies Research Center. BY ANY JOURNALISTIC STANDARD, it was a good get. The black-and-white photograph taken by La Raza Editor in Chief Raul Ruiz captured the pivotal moment when a Los Angeles sheriff’s deputy stood on an East Los Angeles sidewalk and aimed his tear-gas launcher into the Silver Dollar Café on August 29, 1970. A tear gas missile from the launcher would fatally strike Ruben Salazar, a Los Angeles Times columnist and KMEX News Director who had become one of the few mainstream voices to tackle issues that mattered (http://www.latimes.com/la-oew-rubenremembered22apr22-story.html) to Mexicans and Mexican Americans in a city and era when people of color were often absent from media coverage. The investigation into Salazar’s death lagged in the same ways too many deaths of people of color get buried to this day —authorities denied wrongdoing while refusing to release investigation results for decades (http://documents.latimes.com/ruben-salazar/). ICYMI: News organization sets out ambitious Trump plan (https://www.cjr.org/analysis/reuters-trump.php) But while the actions of the deputy may have been in dispute (for lack of any admission of guilt, mostly), Ruiz’ photos for the now-out-of-print Chicano civil rights publication had indisputably captured a painful, course-altering moment in the city’s Chicano history. He knew the photo deserved an audience beyond what could be reached by a self-made newspaper-turned-magazine to tell the untold stories of Chicanos in East Los Angeles. -
Man to Martyr: How Ruben Salazar Communicated a Movement
Man to Martyr: How Ruben Salazar Communicated a Movement Alicia Dinwiddie, Jackie Dinwiddie Senior Division Group Exhibit Student-composed words: 499 Process Paper: 496 Process Paper For many, Mexican-American history is an obscure story, possibly a couple pages in a 5-inch textbook. For us, however, it contains fascinating depth and color. As Mexican-Americans ourselves, the connection to Latinx history is bright and wide. Through our research, we realized that much of that history is unrecognized, and often ignored or lost to time. We sought to discover what scattered pieces we could put together, what we could unearth from a garden of buried stories. We started with the National Chicano Moratorium. As we continued to study how it impacted the Chicano Movement, we noticed that reporter Ruben Salazar was a vital part of its discourse in both life and death. His controversial reports were empowering encouragement to the Chicano community and allowed Salazar to address and confront Anglo-Americans about Mexican-American issues. This connected to the theme of “Communication in History: The Key to Understanding”, and in the interest of learning more about a man we had never heard of before, we pursued the thread. We looked through website articles to guide our research and generally understand the effects Salazar had on the Chicano Movement. Newspapers, magazines, interviews, and podcasts gave us insight into the nuanced interactions between Salazar, the Chicano community, and law enforcement. Two valuable sources, Border Correspondent and the Los Angeles Times archives, offered a complete collection of Ruben Salazar’s writings, shedding light on his opinions and a firsthand account of the many turbulent situations of the time.