1 Chicano Studies Research Center Annual Report 2013-14 Submitted
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O S Ouht Epero
SC 38th Season • 366th Production SECOND STAGE / SEPTEMBER 18 THROUGH OCTOBER 21, 2001 So u h o t eper o David Emmes Martin Benson Producing Artistic Director Artistic Director presents the World Premiere of by ANNIE WEISMAN Scenic Design Costume Design Lighting Design Sound Design CHRISTOPHER ACEBO JOYCE KIM LEE GEOFF KORF ARAM ARSLANIAN Dramaturg Stage Manager Production Manager JEFF GIFFORD *EDWARD TIGHE JERRY PATCH Directed by MARK RUCKER SUE AND RALPH STERN, Honorary Producers Hold Please was commissioned and developed by South Coast Repertory PERFORMING ARTS NETWORK / SOUTH COAST REPERTORY P -1 CAST OF CHARACTERS (in order of speaking) Erika ..................................................................... *Tessa Auberjonois Agatha ................................................................... *Kimberly K. King Jessica ........................................................................... *Jillian Bach Grace ...................................................................... *Linda Gehringer SETTING: An office. LENGTH: Approximately 2 hours, including one 15-minute intermission PRODUCTION STAFF Casting Director ........................................................................... Joanne DeNaut Production Assistant .................................................................... Christi Vadovic Assistant to the Set Designer ................................................. Celeste Thompson Stage Management Intern ............................................................... Emily Caster ACKNOWLEDGEMENT: -
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B CALIFORNIA W EDNESDAY, MAY 20, 2020 :: L ATIMES.COM/CALIFORNIA L.A. County’s next goal is Fourth of July lost work and pay. Any comprehensive Also Tuesday, Sacra- mento County announced it reopening to aid the has been given the go-ahead struggling economy by the state to reopen dine- in restaurants. County offi- will depend on cials said their reopening reduced cases of virus. plan differs slightly from the state’s road map: religious services and ceremonies By Colleen Shalby, such as graduations can be Rong-Gong Lin II held only via drive-through, and Sarah Parvini and outdoor gatherings — such as weddings, funerals and family gatherings — can Los Angeles County offi- have a maximum of 10 people cials’ newest goal is to more with strict social distancing. fully reopen the economy by Citing county officials, July 4, officials said Tuesday. Sacramento Mayor Darrell Al Seib Los Angeles Times The mission is to safely Steinberg tweeted that the FAMILY NURSE PRACTITIONER Anniesatu Newland swabs Alfredo Contreras’ mouth during walk- reopen retail businesses, county would be able to “re- in coronavirus testing this week at St. John’s Well Child & Family Center in South Los Angeles. restaurants and malls. But open some offices, small getting there will be slow go- shops and restaurants” by ing. Friday. “We have to do a lot of “It’s not just about allow- things right so we can actu- ing the businesses to open; ally get to that date,” L.A. it’s also about the custom- I got tested. Should you? County Public Health Direc- ers,” he said in a media brief- tor Barbara Ferrer said. -
Selected Films of Interest for Chicana/O and Latino Studies in the SDSU Library Media Center
Selected Films of Interest for Chicana/o and Latino Studies In the SDSU Library Media Center Check the library catalog (the PAC) for complete information and availability of individual films. Adelante, Mujeres! National Women's History Project, 1992. "Focuses on the history of Mexican-American/Chicana women. The major themes, organizations and personalities are introduced chronologically in a tribute to the strengths and resilience of women at the center of their families, as activists in their communities and as contributors to American history." VTC-245 The American Experience : Zoot Suit Riots. Boston, Mass. : WGBH Educational Foundation : PBS Home Video, 2002. VTC-1904 Barrio Logan : Youth Voices, Community Stories. Media Arts Center San Diego, 2006 "… a storytelling project that helps sustain, support, celebrate and maintain community identity and pride in an area that is widely regarded as a center for Latino civic engagement. This project is a partnership between the City of San Diego Public Library and Media Arts Center San Diego.” DVD-2667 Bettina Gray Speaks with Luis Valdez. Films for the Humanities & Sciences, 1993. VTC-686 Beyond the Border = más allá de la frontera. Dos Vatos Production, 2001. “… with tenderness and beauty, follows the immigrant experience with Marcelo Ayala, who leaves his family on a risky journey to the United States. Beyond the Border rounds out the immigration's effect on family in Marcelo's home town of Michoacan, Mexico.” VTC-2085 Bilingualism : A True Advantage. Films for the Humanities & Sciences, 1994 “The first segment focuses on the bilingual education program at San Antonio's De Zavala Elementary school. -
William A. Calvo-Quirós, P H.D
WILLIAM A. CALVO-QUIRÓS, PH.D. DEPARTMENT OF AMERICAN CULTURE UNIVERSITY OF MICHIGAN 3642 Haven Hall, 505 S. State Street Ann Arbor, MI 48109-1045 (734) 647-3341 | [email protected] | www.barriology.com RESEARCH & TEACHING AREAS ! American Studies ! Design, Space and Aesthetics Studies ! Material Cultural and Consumption Studies ! Speculative Fiction Studies ! Urban Planning and Product Development ! Ethnography Research and Theory ! Comparative Race and Ethnic Studies ! Borderland Studies ! Latina/o Folklore ! Chicana/o Latino Spirituality ! Chicana/o Latina/o Gender, Sexuality and Queer Studies ! Decolonial Methods and Theory. EDUCATION 2014 - 2015 Postdoctoral Fellow/Visiting Scholar The Department of American Culture, and National Center for Institutional Diversity (NCID) University of Michigan, Ann Arbor, MI 2014 Ph.D. Chicana and Chicano Studies Concentrations: Aesthetics and Cultural Studies, Critical Race Theory, Gender and Sexuality Title: “Monsters of Late Capitalism Along the U.S.-Mexico Border: Legends, Epistemologies and the Politics of Imagination.” Dissertation Members: Maria Herrera-Sobek (co-chair), Francisco Lomelí (co-chair), George Lipsitz, Guisela LaTorre. University of California, Santa Barbara, CA. 2011 Ph.D., Design, Environment, and the Arts - Industrial Design Concentrations: History, Methodology, and Criticism Title: “Lowriders: Cruising the Color Line, Chromophobia, Chromo-Eugenics, and the Politics of Taste” Dissertation Members: Jacques Giard, Prasad Boradkar, and David William Foster Arizona State University, Tempe, AZ. 2009 M.A., Chicana and Chicano Studies Concentrations: Borderlands Theory; Aesthetics & Cultural Studies “Low ’n Slow: Navigating Chicana/o Vernacular Knowledge” University of California, Santa Barbara, CA. 2003 M.S.D., Industrial Design Concentration: History, Methodology, and Criticism “Lowriders: Storytellers of the Unique Chicana/o Experience” College of Architecture and Environmental Design Arizona State University, Phoenix, AZ. -
1 Mario T. García and Sal Castro. Blowout!
49th Parallel, Vol. 29 (Summer 2012) McNamara ISSN: 1753-5794 (online) Mario T. García and Sal Castro. Blowout!: Sal Castro & the Chicano Struggle for Education. UNC (University of North Carolina) Press, 2011. 384pp. Niamh Mc Namara* University College Cork The publication of Blowout! Sal Castro & the Chicano Struggle for Educational Justice arrives at a critical juncture for those interested in the U.S. education and political systems. While the text deals with events concentrated in the late 20th century, Blowout! provides historical context to issues pertinent to the contemporary relationship between politics and education in North America. Inequities regarding teaching salaries and resources combined with student drop out rates and disciplinary actions are, today as then, frequently aligned with issues of race and ethnicity. In recent years the media has intensified its focus on the topic of education, especially in relation to Latino and black students. The attempt to introduce the DREAM Act through Congress has underscored the indelible links between immigration and education in the U.S. in regard to Latino students.† With community and political pressure in border states such as Arizona, Texas, and California, politicians are using their stances on educational issues to reflect or reinforce their position on illegal immigration.‡ The closures of Chicano/a Studies in secondary level education, and the media concentration on immigration issues pertaining to the U.S.–Mexico border, has * Niamh Mc Namara is a PhD Candidate at University College Cork where she studies Chicana/o Literature. She can be contacted at [email protected] † The DREAM Act (Development, Relief and Education of Alien Minors Act) is a bipartisan legislation that attempts to provide an avenue for the children of undocumented immigrants to attain full U.S. -
Chicano Youth Leadership Conference: Speaking Legacies of Leadership Into the Future
Chicano Youth Leadership Conference: Speaking Legacies of Leadership into the Future By Jasmin Temblador Capstone Reflection Paper Master of Arts in Cultural Sustainability Goucher College May 2019 Capstone Committee: Selina Morales, Advisor Linda Shopes, Reader Xochitl Chavez, Outside Reader 1 Official slogan of the Sal Castro Foundation. Photo Taken by Jasmin Temblador 2 Introduction In this reflection paper, I use the method of oral history to explore leadership through the Chicano Youth leadership conference (CYLC) over fifty-years. For this final capstone project, I have interviewed Charlotte Lerchenmuller, president of the Sal Castro Foundation, and Paula Crisostomo, board member of the Sal Castro foundation, and former conference attendee and student activist. I selected Paula and Charlotte because they are elders who hold leadership roles in the conference, and both have been longtime volunteers. The purpose of this project is to ensure that the narratives of elders within the conference are heard, seen, and recognized as a vital contribution to the sustainability of the conference, and to continue to empower future generations of Chicano/a youth. Through the oral history recordings, future generations of Chicano/a and Latino/a people will have access to learn about the experiences of people like Charlotte and Paula who have made incredible contributions to the CYLC over time. In this paper, I will introduce a brief history of the conference and the 1968 student walkouts, my personal narrative as a volunteer with the conference and how it inspired me to conduct this capstone. Finally, I will introduce the method of oral history, my process for completing the interviews for this project, and an analysis and interpretation of the interviews. -
Sal-Castro-Conference-Program-011420-1338.Pdf
February 28–29 2020 free and open to public Sponsors Office of the Chancellor | Office of the Vice Chancellor for Academic Affairs | Office of the Dean of Social Sciences | Chicano Studies Institute | Office of the Graduate Dean | Interdisciplinary Humanities Center | Department of Chicana and Chicano Studies | Equal Opportunity & Discrimination | Educational Opportunity Program | Luis Leal Endowed Chair | Las Maestras 5th Bi-Annual Center | Department of History | Latin America & Iberian Studies Chicano Studies Institute Sal Castro University of California Santa Barbara Memorial Santa Barbara, CA 93106–3130 Conference on the Mario T. Garcia Emerging Historiography [email protected] of the Chicano Movement Design and production: Monica G. Pessino, Ocean o’ Graphics, UC Santa Barbara 5th Bi-Annual McCune Room, Interdisciplinary Sal Castro Memorial Conference Humanities Center, 6020 on the Emerging Historiography of the Chicano Movement Humanities & Social Science Bldg. Friday, February 28 Saturday, February 29 8:30–9 AM 12:15–2:15 PM Lunch 9–10:45 AM 3:30–5:30 PM Opening Remarks by Mario T. García, Department of Panel #3 Panel #5 2:30–4:15 PM Chicana and Chicano Studies, UC Santa Barbara Andrea Johnson, Cal St. Univ., Dominguez Hills, César Summer Cherland, South Mountain Community Welcoming Remarks by Charles R. Hale, SAGE Sara Miller Panel #1 Chávez and the California Migrant Ministry College, Freedom Schools: Movement for Educational McCune Dean of Social Sciences, and Ralph Armbruster- Annemarie Pérez, Cal St. Univ., Dominguez Hills, David Flores, UCLA, Religion and the Chicano Equality in Denver, 1966-1994 Elizabeth Sutherland’s [Betita Martínez] Chicana Sandoval, Chair, Department of Chicana and Chicanos Movement Jaime Alanís, Calif. -
Chicano Nationalism: the Brown Berets
CHICANO NATIONALISM: THE BROWN BERETS AND LEGAL SOCIAL CONTROL By JENNIFER G. CORREA Bachelor of Science in Criminology Texas A&M University Kingsville, TX 2004 Submitted to the Faculty of the Graduate College of the Oklahoma State University in partial fulfillment of the requirements for the Degree of MASTER OF SCIENCE July 2006 CHICANO NATIONALISM: THE BROWN BERETS AND LEGAL SOCIAL CONTROL Thesis Approved: Dr. Thomas Shriver Thesis Adviser Dr. Gary Webb Dr. Stephen Perkins Dr. A. Gordon Emslie Dean of the Graduate College ii TABLE OF CONTENTS Chapter Page I. INTRODUCTION ......................................................................................................1 II. REVIEW OF LITERATURE ………………………………………………………7 Informants and Agent Provocateurs .........................................................................8 Surveillance, Dossiers, Mail Openings, and Surreptitious Entries ……………….14 Violent Strategies and Tactics ……………………………………………………20 III. METHOD OLOGY……………………………………………………………….29 Document Analysis ................................................................................................30 Telephone Interviews .............................................................................................32 Historical Analysis .................................................................................................34 IV. FINDINGS .............................................................................................................36 Mexican -American History ...................................................................................36 -
Sal Castro Teacher, Activist “Here’S a Protest: Any Kid with a Book” Page | 1
Educating For Democracy PROFILE OF RESISTANCE Sal Castro teacher, activist “Here’s a protest: any kid with a book” Page | 1 Background Born: October 25, 1933; Died: April 15, 2013 Sal Castro grew up in Boyle Heights, a neighborhood in Los Angeles, California. When he was in elementary school, his second-grade teacher made him sit in a corner because he could not speak English. Instead of feeling bad, he decided that his teachers should be the ones learning to understand him instead of the other way around. Castro graduated from Cathedral High School in 1952. After that, he joined the US Army and fought in the Korean War. After the war, Castro went to Los Angeles City College and studied in business. He graduated HERALD EXAMINER COLLECTION college in 1961. His experience with discrimination made him frustrated. Instead of acting out, he decided to become a teacher to make a difference.i He began teaching in the Los Angeles Unified School District soon after.ii Castro’s Resistance Castro got a job at Belmont High School in East Los Angeles. As a teacher, he encouraged Mexican-American students to run for student office. He encouraged them to speak Spanish when they gave speeches to the school. This got him in trouble at Belmont. He transferred to Lincoln High School shortly after. He worked with other students to create a list of demands for the school board. They wanted to improve the run-down classrooms and provide more learning opportunities in English and Spanish. In fact, many of the schools in their district had little money and almost no good resources. -
Los Angeles Music Center
'A CONTEMPORARY EXPRESSION OF CLASSIC ARCHITECTURE' It is difficult for me to conceive of a great ARC H IT E C T' S EX P l A NAT' 0 N 0 F within and yet we wanted it to be contemp er personal thrill than the formal opening THE PAVILION'S FINE D;;SIGN orary and understated so that it would not of this building. Not only is it the most CONCEPTION, THE ACOUSTICS overpower people. We felt that many con complex architectural problem my firm temporary exterior amI interior desig~s AND LIGHTING, THE STAGE AND has ever attempted to solve, it is probably were too stark and unimaginative for this the single most important e I e men t in THE SEATING AS WELL AS THE type of building, so we studied the classical Southern California's culturJlI history, one KIND OF BUILDING MATERIALS ~oncepts of architecture as a point of de which many in the community have sought parture. Thus. since it is meant to become to secure for nearly 20 years. To be se Photography by Korob a living culturai symbol for future dec lected as architect for such a structure, ades, The Pavilion grew to be a contemp destined to be a landmark even before any opera, ballet and similar presentations re orary expression of classical architecture. architect was assigned, is a great honor. Quire a more intimate type of theater with Being at the crown of the Civic Center But to be chosen in one's own city to ac an amplified sound system. -
CRN 18036 / Chicano Cinema 3302
Fall 2017 (August 28, 2017 – October 20, 2017) CHICANO CINEMA 100% Online Course (CHIC 3302 - 008 CRN 18036) Syllabus 3 credits The University of Texas At El Paso Chicano Studies Program 500 W. University Ave. Graham Hall #104 El Paso, Texas 79968 Course Instructor: Elvira Carrizal-Dukes Office Hours: Contact via Blackboard Mailbox: Chicano Studies Office, GRAH 104 CS Phone: 915-747-5462 Fax: 915-747-6501 E-mail: Contact me only through Blackboard Course Messages If you prefer to speak with me by telephone, contact me through Blackboard Course Messages to set up a telephone appointment. Content Introduction Chicano Cinema is designed to provide students with an overview of Chicano cinema history and the skills necessary to analyze and critique cinema. Students will learn about Chicano cinema theory, aesthetics, genres, and basic cinema criticism. Students will analyze cinema through an examination of story, directing, acting, scenes, and producing to allow students to view cinema critically, to develop a systematic and convincing interpretation of the films they watch, and to acquire the ability to analyze cinema in well-constructed and persuasive essays. Course Objective Chicano Cinema is designed to assist you in learning the aesthetic and technical fundamentals of Chicano cinema arts through lectures, readings, screenings, discussions and assignments. This class provides opportunities for you to develop your skills in writing about and discussing films through semiotics. Course Description Chicano Cinema is an examination of the American film industry with respect to the Chicano’s role, historically and culturally, in the genre. A series of films, including Hollywood commercial and Chicano made films, will be screened, as part of an analysis of Chicano images and their impact on American popular culture. -
The Performing Arts Center of Los Angeles
THE PERFORMING ARTS CENTER OF LOS ANGELES COUNTY (A NONPROFIT ORGANIZATION) FINANCIAL STATEMENTS FOR THE YEAR ENDED JUNE 30, 2015 (WITH COMPARATIVE TOTALS FOR THE YEAR ENDED JUNE 30, 2014) THE PERFORMING ARTS CENTER OF LOS ANGELES COUNTY (A NONPROFIT ORGANIZATION) CONTENTS June 30, 2015 Page INDEPENDENT AUDITOR’S REPORT 1 – 2 FINANCIAL STATEMENTS Statement of Financial Position 3 – 4 Statement of Activities 5 – 6 Statement of Cash Flows 7 – 8 Notes to Financial Statements 9 – 48 INDEPENDENT AUDITOR'S REPORT To the Board of Directors The Performing Arts Center of Los Angeles County Los Angeles, California Report on the Financial Statements We have audited the accompanying financial statements of the Performing Arts Center of Los Angeles County (a California nonprofit organization) (the “Performing Arts Center”) which comprise the statement of financial position as of June 30, 2015, the related statements of activities and cash flows for the year then ended and the related notes to the financial statements. Management’s Responsibility for the Financial Statements Management is responsible for the preparation and fair presentation of these financial statements in accordance with accounting principles generally accepted in the United States of America; this includes the design, implementation and maintenance of internal control relevant to the preparation and fair presentation of financial statements that are free from material misstatement, whether due to fraud or error. Auditor’s Responsibility Our responsibility is to express an opinion on these financial statements based on our audit. We conducted our audit in accordance with auditing standards generally accepted in the United States of America. Those standards require that we plan and perform the audit to obtain reasonable assurance about whether the financial statements are free of material misstatement.