Chicano Studies Research Center Annual Report 2016-17 Submitted
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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. -
The LA Art Scene in the Political 1970S
American Studies in Scandinavia, 48:1 (2016), pp. 61-83. Published by the Nordic Association for American Studies (NAAS). Claims by Anglo American feminists and Chicanas/os for alternative space: The LA art scene in the political 1970s Eva Zetterman University of Gothenburg Abstract: Originating in the context of the Civil Rights Movements and political ac- tivities addressing issues of race, gender and sexuality, the Women’s Liberation move- ment and the Chicano Movement became departures for two significant counter art movements in Los Angeles in the 1970s. This article explores some of the various reasons why Anglo American feminist artists and Chicana artists were not able to fully collaborate in the 1970s, provides some possible explanations for their separa- tion, and argues that the Eurocentric imperative in visual fine art was challenged already in the 1970s by Chicana/o artists in Los Angeles. In so doing, the art activism by Anglo American feminists and Chicanas/os is comparatively investigated with Los Angeles as the spatial framework and the 1970s as the time frame. Four main com- ponents are discussed: their respective political aims, alternative art spaces, peda- gogical frameworks and aesthetic strategies. The study found that the art activisms by Anglo American feminists and Chicanas/os differed. These findings suggest that a task ahead is to open up a dialogue with Chicana/o activist art, making space for more diverse representations of activities and political issues, both on the mainstream art scene and in the history of art. Keywords: the Los Angeles art scene – art activism – alternative art spaces – Chica- nas/os – feminism In the historiography of fine art, the 1970s is recognized as the decade when feminism entered the scene. -
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. -
Peter Valentin Fernandez, Editor, Con Safos Magazine, '97
To: Ms. Denise Lugo/ Ms. Monica Torres Creason, Latino Museum , Los Angeles From: Peter Valentin Fernandez, Editor, Con Safos Magazine, '97 Date: January 2, 1997 Re: Los Four's involvement with Con Safos Magazine, 1968-1972 : A Personal Perspective Introduction " 380 Mexican American newspapers, published from 1848 to 1958, have documented Chicano life in the barrios of the United States.... This newspaper bibliography, compiled by Herminio Rios and Lupe Castillo has contributed greatly toward the eradication of the commonly disseminated but erroneous notions of the non-literate, non-literary, and non-intellectual Mexican American" (El Grito, Vol. V, No. 4, Summer, 1972, p. 38 ). I. Background: Con Safos Magazine, 1968-1972 A. Genesis 1. Dejure segregation/ "separate but equal" doctrine established by the Supreme Court Decision, Plessey vs Ferguson, 1896 Case 2. 1910 Mexican Revolution 3. Mexican Muralist Movement 4. Deportation/Repatriation of Mexican Americans, 1932, City/County of Los Angeles 5. America Tropical, mural by Siqueros, 1932, whitewashed after official unveiling, on Olvera St. 6. Mexico nationalizes its petroleum industry, 1935 7. " Aryes Report", filed by the Los Angeles County Sheriff Department, 1938 8. Executive Order 9066, Internment/Imprisonment of Japanese Americans, 1941 9. Sleepy Lagoon Case. 1941 10. Zoot Suit Riots, 1943 11. Desegregation of the Armed Forces of the United States, 1948 12. Korean War, 1951 13. "War" on "Rat Packs" of Mexican pachucos 14. Dejure segregation/" separate but equal "doctrine, ruled unconstitutional by the Supreme Court, in Brown vs Topeka Case, 1954 15 . Cuban Revolution, 1959 16. Presidential election of 1960 17. Assassination of President John F. -
806/317-0676 E-Mail: [email protected]
DR. CONSTANCE CORTEZ School of Art, Texas Tech University, Lubbock, Texas 79409 (cell) 806/317-0676 e-mail: [email protected] EDUCATION: 1995 Doctor of Philosophy (Art History), University of California, Los Angeles Dissertation: "Gaspar Antonio Chi and the Xiu Family Tree" •Major: Contact Period and Colonial Art of México •Minors: Chicano/a Art, Pre-Columbian Art of México, Classical Art •Areas of Specialization: Conquest Period cultures of the Americas & colonial and postcolonial discourse 1986 Master of Arts (Art History), The University of Texas at Austin Masters Thesis: "The Principal Bird Deity in Late Preclassic & Early Classic Maya Art" •Major: Pre-Columbian Art •Minor: Latin American Studies •Area of Specialization: Classic Maya Iconography and Epigraphy 1981 Bachelor of Arts (Art History), The University of Texas at Austin TEACHING EXPERIENCE: Sept.2003- Associate Professor, Texas Tech University (Tenure/Promotion to Associate, March 6, 2009) present Graduate courses: Themes of Contemporary Art [1985-2013]; Contemporary Theory; Methodology; Memory & Art; The Body in Contemporary Art. Undergraduate courses: Themes of Contemporary Art; Contemporary Chicana/o Art; 19th-20th century Mexican Art; Colonial Art of México; Survey II [Renaissance -Impression.]; Survey III [Post Impressionism - Contemporary]. Sept.1997- Assistant Professor, Santa Clara University May 2003 Tenure-track appointment. Undergraduate: Chicana/o Art; Modern Latin American Art; Colonial Art of Mexico & Perú; Pre-Columbian Art, Native North American Art; Survey of the Arts of Oceania, Africa, & the Americas. Sept.1996- Visiting Lecturer, University of California at Santa Cruz June 1997 Nine-month appointment. Undergraduate: Chicana/o Art; Colonial Art of México; Pre-Columbian Art, Native North American Art; Survey of the Arts of Oceania, Africa, & the Americas. -
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. -
CLS Movie List
CLS Movie List # 1492 Revisited This documentary provides an alternative "indigenous" perspective on the quincentenary of Columbus's arrival. It features provocative artwork from the touring national exhibition Counter Colon-Ialismo as well as challenging commentary by artists and scholars. The film also raises important questions about the nature and construction of history. Paul Espinoza, 1992 Color: 28 min. A Adelante Mujeres (2 copies) This video spans over five centuries and focuses on the history of Mexican American women and Chicanas dating from the Spanish invasion to the present. Hundreds of previously unpublished photographs, art works, and contemporary footage pay tribute to the strength and resilience of women as the center of their families, activists in their communities, and contributors to American history. National Women's History Project, 1992 Color: 30 min. After the Earthquake Before the revolution and after the earthquake, a woman from Managua unexpectedly encounters her Nicaraguan fiancé in San Francisco. The film questions the pursuit of self-serving interests in the face of larger issues, in this case the Somoza regime, and integrates political concerns with a love story. National Women's History Project, 1992 Color: 30 min. Agitating for Change: The Alliance Schools Initiative Eight years ago, many schools in Texas, like this one, were plagued by gangs, truancy, and poor academic results. Teachers were ready to try something new. Enter Ernie Cortes—a community organizer who is also disturbed by seeing kids turned off at school. Cortes formed an Alliance Schools Initiative to shake up public schools in working-class districts. The Cortes strategy was to work with churches and community activists to break down old hierarchies, to excite and empower teachers, and to reconnect schools to their communities. -
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. -
Mark Santarelli and Linda Arreola Collection of Mag㺠Materials
http://oac.cdlib.org/findaid/ark:/13030/c88k7fv3 No online items Mark Santarelli and Linda Arreola Collection of Magú Materials, circa 1999-2004 CSRC.2016.014 Finding aid prepared by David Platt and Xaviera Flores UCLA Chicano Studies Research Center 193 Haines Hall Box 951544 Los Angeles, CA., 90095-1544 310-825-2364 [email protected] November 1, 2016 Mark Santarelli and Linda Arreola CSRC.2016.014 1 Collection of Magú Materials, circa 1999-2004 ... Title: Mark Santarelli and Linda Arreola Collection of Magú Materials Identifier/Call Number: CSRC.2016.014 Contributing Institution: UCLA Chicano Studies Research Center Language of Material: English Physical Description: 1.0 linear feet(1 box) Date (inclusive): 1999-2004 Abstract: The Mark Santarelli and Linda Arreola Collection of Magú Materials consists of items related to the short film documenting the art and activism of Gilbert "Magú" Luján. Materials date roughly from 1999 to 2004. This collection includes audiovisual materials, electronic formats, and production papers. Physical Location: Collection stored off-site at SRLF: Open for research. Advance notice is required for access to the collection. Please contact UCLA Chicano Studies Research Center for paging information. Arrangement Note This collection is Arranged in the following series: I. Audiovisual, II. Digital (Hard Drive), and III. Production Materials. Conditions Governing Access OPEN FOR RESEARCH. Audiovisual materials may not be immediately available due to formatting issues. Portions of this collection are born digital. All requests to access these materials must be made in advance. Access with permission of CSRC librarian. COPYRIGHT NOTICE These materials are made available for use in research, teaching and private study, pursuant to U.S. -
A Finding Aid to the Tomás Ybarra- Frausto Research Material on Chicano Art, 1965-2004, in the Archives of American Art
A Finding Aid to the Tomás Ybarra- Frausto Research Material on Chicano Art, 1965-2004, in the Archives of American Art Gabriela H. Lambert, Rosa Fernández and Lucile Smith 1998, 2006 Archives of American Art 750 9th Street, NW Victor Building, Suite 2200 Washington, D.C. 20001 https://www.aaa.si.edu/services/questions https://www.aaa.si.edu/ Table of Contents Collection Overview ........................................................................................................ 1 Administrative Information .............................................................................................. 1 Autobiographical Note...................................................................................................... 2 Scope and Content Note................................................................................................. 2 Arrangement..................................................................................................................... 4 Names and Subjects ...................................................................................................... 4 Container Listing ............................................................................................................. 5 Series 1: Subject Files, 1965-2004.......................................................................... 5 Tomás Ybarra-Frausto research material AAA.ybartoma Collection Overview Repository: Archives of American Art Title: Tomás Ybarra-Frausto research material Identifier: AAA.ybartoma Date: 1965-2004 Creator: -
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The Bilingual Review VOL. XXXIII ⚫ NO 5 ⚫ MAY 2017 LA REVISTA Bilingüe OPEN-ACCESS, PEER-REVIEWED/ACCESO ABIERTO, JURADO PROFESIONAL Pedagogies of the Home in the Art and Narrative of Chicana/o Picturebooks Lettycia Terrones School of Information Sciences University of Illinois at Urbana Champaign ABSTRACT: This essay interrogates how mother-daughter type relationships in Chicana/o picturebooks function to transmit specific cultural values. It posits these acts of transmission as strategies of resilient resistance against normative modes of instruction typically found in school sites that perpetuate barriers to education through structural racism and economic injustice. The mother-daughter type relationships in these picturebooks and the home-centered strategies of education they offer, I argue, exemplify how cultural survival and resistance through the practice of pedagogies of the home can transform institutional spaces of instruction. Exploring the nuances of visual imagery and narrative of Chicana/o picturebooks in this way responds to the call for critical multicultural scholarship in children’s literature. Moreover, it invites librarians and educators to learn from the funds of knowledges children bring with them into classroom and storytime spaces. Key words: Keywords: Chicana/o picturebooks, pedagogies of the home, mother-daughter relationships, community, funds of knowledge Bilingual Review/Revista Bilingüe (BR/RB) ©2016, Volume 33, Number 5 137 Pedagogies of the Home in the Art and Narrative of Chicana/o Picturebooks Lettycia Terrones School of Information Sciences University of Illinois at Urbana Champaign Author Note I am grateful to my mentor and doctoral studies academic advisor, Dr. Elizabeth Hoiem, for her generous guidance and comments on this essay. -
Chicano Children's Literature: Using Bilingual Children's Books to Promote Equity in the Classroom
Promising Practices Chicano Children’s Literature Using Bilingual Children’s Books to Promote Equity in the Classroom the Academic Success of Diverse Student Populations Laura A. Alamillo & Rosie Arenas Introduction learner placed into settings that neither Because of the lack of alternative forms empowered them nor encouraged them of children’s literature, authentic forms of As a child growing up in California, my parents raised my sisters and me in a to be proud of their heritage. In the few multicultural children’s literature are not traditional Mexican Spanish-speaking classrooms that did have literature books commonly used in classrooms. home, always acknowledging the Ameri- those books did not authentically depict This situation was noted in Alamillo’s can culture that surrounded us, in our the Chicano culture but rather stereotyped 2004 study. It was found that bilingual, neighborhood, our schools, and in our it, both in text and in illustrations. Chicano children were not given access to daily lives. It was a combination of these It is because of this lack of authentic children’s literature that connected them to two cultures that determined my identity, bilingual children’s books and our own per- their communities, traditions, and experi- knowing that I could switch back and forth sonal experiences that we are committed ences because the teacher was mandated to between Spanish and English, Mexican and American, while I was in the comfort- to promoting equity through the use of lit- use the scripted reading program. Specifi- ing presence of my family at home on our erature in the classroom.