806/317-0676 E-Mail: [email protected]
Total Page：16
File Type：pdf, Size：1020Kb
Load more
Recommended publications
-
Carmen Lomas Garza: Chicana Author and Illustrator
Carmen Lomas Garza: Chicana Author and Illustrator THE ALMA PROJECT A Cultural Curriculum Infusion Model Denver Public Schools In partnership with Metropolitan State College of Denver THE ALMA PROJECT A Cultural Curriculum Infusion Model Carmen Lomas Garza: Chicana Author and Illustrator By Deborah J. Francis Grades: ECE - 2nd Implementation Time: 2-3 weeks Published 2002 Denver Public Schools, Denver, Colorado The Alma Curriculum and Teacher Training Project Loyola A. Martinez, Project Director Denver Public Schools, Denver, Colorado ABOUT THE ALMA PROJECT The Alma Curriculum and Teacher Training Project The Alma Curriculum and Teacher Training Project was made possible with funding from a Goals 2000 Partnerships for Educating Colorado Students grant awarded to the Denver Public Schools in July 1996. The Project is currently being funded by the Denver Public Schools. The intent of the Project is to have teachers in the Denver Public Schools develop instructional units on the history, contributions, and issues pertinent to Latinos and Hispanics in the southwest United States. Other experts, volunteers, and community organizations have also been directly involved in the development of content in history, literature, science, art, and music, as well as in teacher training. The instructional units have been developed for Early Childhood Education (ECE) through Grade 12. As instructional units are developed and field-tested, feedback from teachers is extremely valuable for making any necessary modifications in the topic development of future units of study. Feedback obtained in the spring of 1999, from 48 teachers at 14 sites, was compiled, documented and provided vital information for the field testing report presented to the Board of Education. -
TCB Groove Program
www.piccolotheatre.com 224-420-2223 T-F 10A-5P 37 PLAYS IN 80-90 MINUTES! APRIL 7- MAY 14! SAVE THE DATE! NOVEMBER 10, 11, & 12 APRIL 21 7:30P APRIL 22 5:00P APRIL 23 2:00P NICHOLS CONCERT HALL BENITO JUAREZ ST. CHRYSOSTOM’S Join us for the powerful polyphony of MUSIC INSTITUTE OF CHICAGO COMMUNITY ACADEMY EPISCOPAL CHURCH G.F. Handel's As pants the hart, 1490 CHICAGO AVE PERFORMING ARTS CENTER 1424 N DEARBORN ST. EVANSTON, IL 60201 1450 W CERMAK RD CHICAGO, IL 60610 Domenico Scarlatti's Stabat mater, TICKETS $10-$40 CHICAGO, IL 60608 TICKETS $10-$40 and J.S. Bach's Singet dem Herrn. FREE ADMISSION Dear friends, Last fall, Third Coast Baroque’s debut series ¡Sarabanda! focused on examining the African and Latin American folk music roots of the sarabande. Today, we will be following the paths of the chaconne, passacaglia and other ostinato rhythms – with origins similar to the sarabande – as they spread across Europe during the 17th century. With this program that we are calling Groove!, we present those intoxicating rhythms in the fashion and flavor of the different countries where they gained popularity. The great European composers wrote masterpieces using the rhythms of these ancient dances to create immortal pieces of art, but their weight and significance is such that we tend to forget where their origins lie. Bach, Couperin, and Purcell – to name only a few – wrote music for highly sophisticated institutions. Still, through these dance rhythms, they were searching for something similar to what the more ancient civilizations had been striving to attain: a connection to the spiritual world. -
A View of Unconcealed Alterities and Affirmations of Chicana Identity
LUX: A Journal of Transdisciplinary Writing and Research from Claremont Graduate University Volume 2 | Issue 1 Article 22 2013 Chicana Aesthetics: A View of Unconcealed Alterities and Affirmations of Chicana Identity through Laura Aguilar’s Photographic Images Daniel Perez California State University, Dominguez Hills, [email protected] Follow this and additional works at: http://scholarship.claremont.edu/lux Part of the Chicano Studies Commons, Critical and Cultural Studies Commons, Gender, Race, Sexuality, and Ethnicity in Communication Commons, Inequality and Stratification Commons, Other Feminist, Gender, and Sexuality Studies Commons, and the Other Languages, Societies, and Cultures Commons Recommended Citation Perez, Daniel (2013) "Chicana Aesthetics: A View of Unconcealed Alterities and Affirmations of Chicana Identity through Laura Aguilar’s Photographic Images," LUX: A Journal of Transdisciplinary Writing and Research from Claremont Graduate University: Vol. 2: Iss. 1, Article 22. Available at: http://scholarship.claremont.edu/lux/vol2/iss1/22 Perez: Unconcealed Alterities and Affirmations of Chicana Identity through Laura Aguilar’s Images Perez 1 Chicana Aesthetics: A View of Unconcealed Alterities and Affirmations of Chicana Identity through Laura Aguilar’s Photographic Images Daniel Perez California State University Dominguez Hills Abstract In this paper I will argue that Chicana feminist artist Laura Aguilar, Alma Lopez, Laura Molina, and Yreina D. Cervantez established a continuing counter-narrative of cultural hegemony and Western essentialized hegemonic identification. Through artistic expression they have developed an oppositional discourse that challenges racial stereotypes, discrimination, socio-economic inequalities, political representation, sexuality, femininity, and hegemonic discourse. I will present a complex critique of both art and culture through an inquiry of the production and evaluation of the Chicana feminist artist, their role as the artist, and their contributions to unfixing the traditional and marginalized feminine. -
Recent Developments in Admiralty and Maritime Law
Recent Developments in Admiralty and Maritime Law Kirby Aarsheim, Jeanne L. Amy, Michael T. Amy, Attilio Costabel, Megen Madison Gold, Danielle T. Gauer, Chase Alexandra Jansson, Brian P. Maloney, Nicole M. Matteo, Donald A. Mau, Matthew A. Moeller, Kelly E. Mulrane, Casey M. O’Brien, Pamela L. Schultz, Allison N. Skopec, Thomas W. Snook, and W. Benjamin Woody I. Introduction .................................................................................270 II. Seamen’s Claims ...........................................................................271 A. Jones Act and Unseaworthiness ............................................271 B. Maintenance and Cure ..........................................................271 C. Seamen Status and Other Issues ...........................................273 III. Longshoremen Claims .................................................................274 IV. Passenger Claims .........................................................................275 Kirby Aarsheim ([email protected]) is a partner at Farrell Smith O’Connell, LLP, in Boston, MA; Jeanne L. Amy ([email protected]) is an associate at Jones Walker LLP in New Orleans, LA; Michael T. Amy ([email protected]) is an associate at Deutsch Kerrigan LLP in New Orleans, LA; Attilio Costabel (costabelpa@ bellsouth.net) is a solo practitioner specializing in maritime law and is a professor at St. Thomas University School of Law; Megen Madison Gold ([email protected]) is an associate attorney at Kubcki Draper, P.A. in Miami, FL; Danielle T. Gauer, LL.M, Esq. is an associate attorney in the maritime litigation group at MG+M The Law Firm in Miami, FL; Chase Alexandra Jansson ([email protected]) is an associ- ate at Kennedys CMK LLP in Miami, FL; Brian P. Maloney ([email protected]) is an associate at Seward & Kissel LLP, in New York, NY; Nicole M. Matteo (nmatteo@ PierceAtwood.com) is an associate at Pierce Atwood LLP in Providence, RI; Donald A. -
Art for La Causa
Art for La Causa The civil rights era of the 1960s, in which marginalized groups demanded equal rights, dramatically altered American society. Galvanized by the times in which they lived, Latino artists became masters of socially engaged art, challenging prevailing notions of American identity and affirming the mixed indigenous, African, and European heritage of Latino communities. Many artists reinvigorated mural and graphic traditions in an effort to reach ordinary people where they lived and worked. Whether energizing genres like history painting, or creating activist posters or works that penetrated bicultural experiences, Latino artists shaped and chronicled a turning point in American history. The Latino Civil Rights movement began around the same time as the African American Civil Rights movement during the 1960s. The Latino community founds its voice in civil rights activist Cesar Chavez in their quest for equality. Chavez, inspired by Gandhi and Martin Luther King Jr., implemented peaceful protest strategies in the effort to expand civil and labor rights for Latinos. The marches, strikes, and fasts that Chavez and others employed aided in raising awareness of unfair labor practices, such as low wages and poor working conditions facing the Latino community. These issues became compelling motivation for Latino artists to use their talents to raise awareness and engage others for La Causa. Their artwork, which began as an expression of public art forms, fueled ongoing political activism and a greater sense of cultural pride. Political banners and posters carried during marches and protests were some of the first art forms of the movement. While Emanuel Martinez’s Farm Workers Altar is an excellent example of early public art of the movement, Carmen Lomas Garza’s Camas para Sueños exudes cultural pride in depicting a scene of everyday life in a Mexican American family. -
Insider Vol. 8 No. 2 Spring 2007
Western Michigan University ScholarWorks at WMU College of Arts and Sciences news College of Arts and Sciences Spring 2007 Insider Vol. 8 No. 2 Spring 2007 College of Arts & Sciences Follow this and additional works at: https://scholarworks.wmich.edu/cas_news Part of the Education Commons WMU ScholarWorks Citation College of Arts & Sciences, "Insider Vol. 8 No. 2 Spring 2007" (2007). College of Arts and Sciences news. 10. https://scholarworks.wmich.edu/cas_news/10 This Newsletter is brought to you for free and open access by the College of Arts and Sciences at ScholarWorks at WMU. It has been accepted for inclusion in College of Arts and Sciences news by an authorized administrator of ScholarWorks at WMU. For more information, please contact wmu- [email protected]. Visit our website at www.wmich.edu/cas A Publication for Friends of the College of Arts and Sciences Spring 2007 • Vol. VIII, No. 2 FACULTY Tech Profile PROFILE 2 GeoWall brings learning to life 3 STUDENT PROFILE News and Events Graduate students in the news. 4 12 Bronco Biodiesel hits the streets. NAMES & FACES New Chemistry Building Opens Rave reviews from alumni, faculty and students. 6 11 Buy an Element Fund-raiser in progress. STAFF PROFILE 10 Tech Profile GEOWALL BRINGS LEARNING TO TWO FROM COLLEGE NAMED LIFE FOR GEOSCIENCES TEACHING EXCELLENCE WINNERS we are adding to our collection.” The GeoWall allows for students to actually see 3-D representations that would typically have to be imag- ined by the student. The GeoWall is an eight foot by six foot rear-projection passive stereo wall, which examines subsurface models in a 3-D environment. -
Re-Membering the Body: Spiritual Genealogy, Collective Memory, and Lost Histories in Delilah Montoya’S Codex Delilah
San Jose State University SJSU ScholarWorks 2002-2004: 29th, 30th, & 31st Annual NACCS Annual Conference Proceedings Conferences Proceedings Apr 1st, 12:00 AM Re-Membering the Body: Spiritual Genealogy, Collective Memory, and Lost Histories in Delilah Montoya’s Codex Delilah Ann Marie Leimer University of Redlands Follow this and additional works at: https://scholarworks.sjsu.edu/naccs Leimer, Ann Marie, "Re-Membering the Body: Spiritual Genealogy, Collective Memory, and Lost Histories in Delilah Montoya’s Codex Delilah" (2004). NACCS Annual Conference Proceedings. 3. https://scholarworks.sjsu.edu/naccs/2002-2004/Proceedings/3 This Conference Proceeding is brought to you for free and open access by the National Association for Chicana and Chicano Studies Archive at SJSU ScholarWorks. It has been accepted for inclusion in NACCS Annual Conference Proceedings by an authorized administrator of SJSU ScholarWorks. For more information, please contact [email protected]. NACCS_FINAL:NACCS proceedings 3/18/09 4:10 PM Page 10 CHAPTER 1 Re-Membering the Body: Spiritual Genealogy, Collective Memory, and Lost Histories in Delilah Montoya’s Codex Delilah Ann Marie Leimer, University of Redlands INTRODUCTION In 1992, the United States conducted a nationwide commemoration of the Quincentenary, the five-hundredth anniversary of the arrival of Christopher Columbus on the shores of the Americas. While the overall tenor of the observance remained laudatory regarding Columbus, his achievement, and the subsequent “settlement” 1 of the New World by Europeans, some Americans insisted that media and other popular representations of the offi - cial recognition elided important aspects of this historical moment and its aftermath. Protests and counterdemonstrations ranged from mild to mili - tant with churches, schools, and indigenous and other activist groups cri - tiquing the limited portrayal of the yearlong commemoration. -
1 WS 560 Chicana Feminism Course Syllabus Class Time
WS 560 Chicana Feminism Course Syllabus Class time: MW 1:30-3:18 Phone: 247-7720 Classroom: ----- Email: [email protected] Instructor: Professor Guisela Latorre Office Hours: ------ Office: ------ Course Description This course will provide students with a general background on Chicana feminist thought. Chicana feminism has carved out a discursive space for Chicanas and other women of color, a space where they can articulate their experiences at the intersection of race, class, gender, sexuality, among other considerations. In the process, Chicana feminists have critically challenged Chicano nationalist discourse as well as European and North American feminism. This challenge has placed them in a unique albeit isolated position in relationship other established discourses about liberation and decolonization. Through this class, we will address the diversity in thinking and methodology that defines these discourses thus acknowledging the existence of a variety of feminisms that occur within Chicana intellectual thought. We will also explore the diversity of realms where this feminist thinking is applied: labor, education, cultural production (literature, art, performance, etc.), sexuality, spirituality, among others. Ultimately, we will arrive at the understanding that Chicana feminism is as much an intellectual and theoretical discourse as it is a strategy for survival and success for women of color in a highly stratified society. Each class will be composed of a lecture and discussion component. During the lecture I will cover some basic background information on Chicana feminism to provide students with the proper contextualization for the readings. After the lecture we will engage in a seminar-style discussion about the readings and their connections to the lecture material. -
Hispanic Art in Texas Teacher Resource 2
ART, IDENTITY, CULTURE TEJANO CULTURE IN EARLY TEXAS AND CONTEMPORARY ART LESSON ONE ART AND REPRESENTATION BEFORE THE LESSON It is important for students to be able to critically evaluate what they see, particularly as this relates to the representation of culture. Without a critical eye, students may accept stereotypical interpretations and not strive for accurate representations of peoples and cultures. OVERVIEW In this lesson, students identify and discuss how examples of Early Texas Art represent Tejano culture, comparing works for the ways that they construct their subjects. They will consider the social and historical conditions under which the images were made and offer plausible explanations for the paintings' meanings. Finally, they will evaluate what primary sources are necessary to investigate culture appropriately. In doing so, the students identify the tools that they will use in the remaining lessons. OBJECTIVES STUDENTS WILL: Interpret images for their meaning Compare different images for their meanings Employ terms introduced in the unit (Tejano, Anglo, culture, identity, representation, stereotype) Compose a plausible extension for each image Evaluate resources needed for more complete interpretations of the images HISTORICAL INFORMATION These three paintings represent different periods of Texas history. Theodore Gentilz's painting was created in the Republic of Texas (1836-1845). Gentilz was a Frenchman who moved to San Antonio in 1843 and painted the city's diverse cultures as he saw them. The image seen here represents a fandango dance. José Arpa made his image in 1929, just before the Dust Bowl and the Great Depression. Tejanos at this time experienced discrimination and schools were segregated. -
(RCAF) Chicano/A Art Collective
INTRODUCTION Mapping the Chicano/a Art History of the Royal Chicano Air Force he Royal Chicano Air Force (RCAF) Chicano/a art collective pro duced major works of art, poetry, prose, music, and performance in T the United States during the second half of the twentieth century and the first decades of the twenty-first. Merging the hegemonic signs, sym bols, and texts of two nations with particular but often fragmented knowl edge of their indigenous ancestries, members of the RCAF were among a generation of Chicano/a artists in the 1960s and 1970s who revolution ized traditional genres of art through fusions of content and form in ways that continue to influence artistic practices in the twenty-first century. Encompassing artists, students, military veterans, community and labor activists, professors, poets, and musicians (and many members who identi fied with more than one of these terms), the RCAF redefined the meaning of artistic production and artwork to account for their expansive reper toire, which was inseparable from the community-based orientation of the group. The RCAF emerged in Sacramento, California, in 1969 and became established between 1970 and 1972.1 The group's work ranged from poster making, muralism, poetry, music, and performance, to a breakfast program, community art classes, and political and labor activism. Subsequently, the RCAF anticipated areas of new genre art that rely on community engage ment and relational aesthetics, despite exclusions of Chicano/a artists from these categories of art in the United States (Bourriaud 2002). Because the RCAF pushed definitions of art to include modes of production beyond tra ditional definitions and Eurocentric values, women factored significantly in the collective's output, navigating and challenging the overarching patri archal cultural norms of the Chicano movement and its manifestations in the RCAF. -
![Breaching Walls (Real and Imaginary): Arte Hispano-Americano [Latin American Art], 1000 C.E](https://docslib.b-cdn.net/cover/9348/breaching-walls-real-and-imaginary-arte-hispano-americano-latin-american-art-1000-c-e-1889348.webp)
Breaching Walls (Real and Imaginary): Arte Hispano-Americano [Latin American Art], 1000 C.E
Breaching Walls (Real and Imaginary): Arte Hispano-Americano [Latin American Art], 1000 C.E. to 2017 C.E. A Guide to the Exhibition by Noel Dorsey Vernon A STUDENT EXHIBITION GUIDE FOR EDUCATIONAL USE ONLY -- 11/12/17 (NDV) Author's Note This guide supports the art exhibition “Breaching Walls (Real and Imaginary)” held at Skyline Community College in November 2017, celebrating Latino Heritage Month. Many thanks to the administration and faculty of Skyline College for hosting and supporting it. Many thanks also to Arthur Takayama, Lorenzo Hernández and Cristina Hernández for organizing this exhibition. I am indebted to all of them for agreeing that a gallery guide might be of use and permitting me to author it. Thanks also to Professor Carlos Ugalde for taking the time to author "Comments on Art by Professor Carlos Ugalde for Lorenzo Hernández " which is included in this Exhibition Guide. My own background in Mexican and Hispano-American history is far less than was necessary to take on this project, so I spent a lot of time reading, looking at art, listening and asking questions. I had studied the history of Mexico many years ago in Guanajuato, Mexico, although my greatest interest was in Mexico's Pre-Columbian urban heritage. As a professor and Associate Dean of Environmental Design (now a Professor Emerita) in the CSU system, I was able to incorporate some this information into my landscape architecture history courses. I also am aware that much that has been written in English about Mexican art history was written by non-Mexicans. This has resulted in the misunderstanding that Mexican art history has been driven almost entirely by Western European art movements, styles and artists. -
Luminaria 2018, Will Perform the Hero’S Journey in the Mexican Cultural Institute for Luminaria 2018
Visual Arts Performance Dance | Music Literary Luminaria’s 2018 Contemporary Arts Festival offers much to celebrate! As San Antonio’s only multi-arts festival, we are a connecting force between the many art forms, genres and practices of an urban city. Supported by the City of San Antonio’s Department of Arts & Culture and a network of philanthropy, Luminaria celebrates 11 years of showcasing ART to ALL for FREE. As an independent non-profit organization, the magic of Luminaria is made possible by artists, curators, and organizations working together. For the first time, artist awardees of grants from both the Artist Foundation of San Antonio (AFSA) and the National Association of Latino Arts & Culture (NALAC) were invited to showcase their works at the festival. Funded by AFSA and NALAC, these Texas artists create new works in performance, visual, music and literary arts. Luminaria provides the production and marketing support to showcase the cutting edge results. In a continuation of partnerships, Luminaria worked with Contemporary Art Month (a San Antonio stalwart of contemporary visual art held every July) and with the Southern Fried Poetry Slam (a national spoken word contest that was held in our city this past June). From these organizations, artists were invited to bring their award-winning work to the festival. Additional new partnerships with the Mexican CURATORS Consulate and the San Antonio Missions National Historical Park give tribute to San Antonio’s history Carrie Brown | Alana Coates | Lindsay Compton | Agosto Cuellar | Adriana Flores | Mark McCoin and cultural relations, with two special artistic contributions. Patrick McMillan | Andrea Vocab Sanderson | Guillermina Zabala Yet, it is a combination of the time given by arts experts on the Curatorial Committees and the passion STAFF of both an organic regional and national web of artists who apply to be featured artists that we owe our Kathy Armstrong Executive Director | Kat Cadena Administrative Manager | Pam De La Mora Media Associate gratitude.