1 Chicano Studies Research Center Annual Report 2013-14 Submitted
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CURRICULUM VITAE Gabriella Gutiérrez Y Muhs
September 2014 CURRICULUM VITAE Gabriella Gutiérrez y Muhs Department of Modern Languages Seattle University 901 12th Avenue Seattle, Washington 98122-4460 (206) 296-6393 [email protected] Education Ph.D. 2000 Stanford University (Spanish. Primary Field: Chicana/o Literature. Secondary Fields: Contemporary Peninsular and Latin American Studies. M.A. 1992 Stanford University (Spanish, Latin American and Peninsular Studies) Additional Studies University of California at Santa Cruz: Teacher Credential Program (Bilingual, Primary and Secondary, Clear credentials, Spanish and French.) Universidad de Salamanca, Spain. Rotary International Graduate Studies Scholarship, Spain. Colegio de México, Mexico City. Masters Degree Work. Universidade de Lisboa, Lisbon, Portugal. Portuguese Language and Culture Studies Program; Diploma. Occidental College, Los Angeles, CA. B.A. in French & B.A. in Spanish. Minors: Sociology, Anthropology. Emphasis: Latin American Studies. Credentials Secondary Single Subject, Clear, in Foreign Languages (Spanish & French). Multiple Subject, Clear, Bilingual. University of California, Santa Cruz. Community College Teaching and Administrative Credential. Academic Employment Professor: Seattle University, March 2014-Present. Associate Professor: Seattle University, March, 2006-Present. Assistant Professor: Seattle University, Seattle, Washington. Fall 20002006. Teach culture, civilization, language, literature, and Women and Gender Studies courses. University Administrative Experience and Selected Committee Service 2014 – 2015 Co-Chair with Susan Rankin, Rankin & Associates, (experts in assessing the learning and working climates on college campuses,) of Climate Study Working Group, a result of the Diversity Task Force, 2013-2014. 2012-Present Co-Director Patricia Wismer Center for Gender, Justice, & Diversity. 2009 – 2013 University Rank and Tenure Committee Member, appointed by Academic Assembly, Arts and Sciences. Co-chaired the committee 2012-2013. -
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. -
A Queer Chicana/O Ethics of Representation Rasquache Camp in the Novels of Rechy and Luna Lemus
A Queer Chicana/o Ethics of Representation Rasquache Camp in the Novels of Rechy and Luna Lemus Jason A. Bartles Abstract: This essay places into dialogue two queer Chicana/o novels, John Rechy’s City of Night (1963) and Felicia Luna Lemus’s Trace Elements of Random Tea Parties (2003), in order to explore their common aesthetic sensibility. This sensibility is what I call rasquache camp, a stance that arises from the complex entanglement of rasquachismo’s utilitarian aspects of making do and the funky irreverence of camp, without resulting in a dialectical sublation between the two. This essay intervenes in the recent debates on the appropriateness of using rasquachismo as a tool for studying (queer) Chicana/o cultural productions. Informed by rasquache camp, I contend that these two novels develop and employ an ethics of representing marginalized queer and Chicana/o subjects who face insurmountable adversity by overturning the paradigms of morality and literary value, not from idealized, theoretical stances but by making use of imperfect, often cobbled-together solutions. As the future-oriented projects of these novels come to a close, both texts consciously fail to achieve their goals, but this failure allows the future to remain open to new and better aesthetic and ethical interventions by others. Forty years separates the publication of John Rechy’s City of Night (1963) and Felicia Luna Lemus’s Trace Elements of Random Tea Parties (2003). This period saw important developments in the cultural history of Chicana/o and queer peoples, including the rise of the Chicano civil rights movement, the Stonewall riots, and the increasing visibility of literature, art, and criticism by and about queer Chicana/os, with the groundbreaking publication of acclaimed works by Gloria Anzaldúa and Cherríe Moraga. -
Style Sheet for Aztlán: a Journal of Chicano Studies
Style Sheet for Aztlán: A Journal of Chicano Studies Articles submitted to Aztlán are accepted with the understanding that the author will agree to all style changes made by the copyeditor unless the changes drastically alter the author’s meaning. This style sheet is intended for use with articles written in English. Much of it also applies to those written in Spanish, but authors planning to submit Spanish-language texts should check with the editors for special instructions. 1. Reference Books Aztlán bases its style on the Chicago Manual of Style, 15th edition, with some modifications. Spelling follows Merriam-Webster’s Collegiate Dictionary, 11th edition. This sheet provides a guide to a number of style questions that come up frequently in Aztlán. 2. Titles and Subheads 2a. Article titles No endnotes are allowed on titles. Acknowledgments, information about the title or epigraph, or other general information about an article should go in an unnumbered note at the beginning of the endnotes (see section 12). 2b. Subheads Topical subheads should be used to break up the text at logical points. In general, Aztlán does not use more than two levels of subheads. Most articles have only one level. Authors should make the hierarchy of subheads clear by using large, bold, and/or italic type to differentiate levels of subheads. For example, level-1 and level-2 subheads might look like this: Ethnocentrism and Imperialism in the Imperial Valley Social and Spatial Marginalization of Latinos Do not set subheads in all caps. Do not number subheads. No endnotes are allowed on subheads. -
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. -
EL TEATRO CAMPESINO Curated By
CURATED BY Daniela Lieja Quintanar Samantha Gregg ) 5 7 9 1 ( b m u l P i m i M : o t o h P 2 EL TEATRO CAMPESINO (1965-1975) Curated by Daniela Lieja Quintanar Samantha Gregg Introduction/Introducción pg 4 The Stage/Escenarios pg 5 Family/La familia pg 8 March to Sacramento/Marcha a Sacramento pg 9 Masks and Villains/Máscaras y Villanos pg 11 Actos pg 13 Humor and/y Rasquachismo pg 15 The Chicano Theater Movement/ El Movimiento de Teatro Chicano pg 18 Peter Brook pg 19 Video pg 20 Radicality/Radicalidad pg 23 Boycott/Boicot pg 24 El Malcriado pg 27 Maya and/y Aztec (Sun Mural/Mural del Sol) pg 28 United Farm Workers pg 30 Exhibition Views/Vistas de la Exposición pg 36 Actos, Soundtrack and/y Bibliography/Bibliografía pg 41 Checklist pg 45 An Homage to Diane Rodriguez (1951-2020)/ Homenaje a Diane Rodriguez (1951-2020) pg 53 2 1. Patroncito (Boss) mask used in No Saco Nada de la Escuela (I Don’t Get Anything Out of School), paper maché, ca. 1969. Courtesy of El Teatro Campesino. 2. United Farm Workers, flag prop, fabric and wood, ca. 1969. Courtesy of El Teatro Campesino. 1. Máscara del Patroncito, utilizada en No Saco Nada de la Escuela, papel maché, ca. 1969. Cortesía de El Teatro Campesino. 2. Bandera de utilería, Sindicato de Trabajadores Campesinos (UFW, United Farm Workers), ca. 1969. Cortesía de El Teatro Campesino. 3 In 1965, El Teatro Campesino was founded in California on the picket lines of the Delano Grape Strike. -
Zócalo Public Square :: Movies' Most Memorable Mexican-American Moments
Zócalo Public Square :: Movies’ Most Memorable Mexican-American ... http://www.zocalopublicsquare.org/2015/05/26/movies-most-memorabl... From Stand and Deliver to Giant, These Are Hollywood's Strongest Cinematic Depictions of America’s Third Largest Ethnic Group For better or for worse, when many The fight in Sarge’s Diner in Giant Americans think about Italian- Americans, they think of The Godfather. When it comes to Irish-Americans, it’s A Crossing the border, whether real Tree Grows in Brooklyn. And for or imagined Chinese-Americans, it’s The Joy Luck Club. The way people talk. The clothes The Cisco Kid and maids are only they wear. The houses they live in. What part of the story makes them cry. Film has a way of making abstract identities vivid and The dark past and diverse present tangible. of Zoot Suit So what has the silver screen been communicating to Americans about the Mexican-American experience? Mexican-Americans make up one of the largest ethnic groups in the U.S. but only a handful of mainstream films focusing on Mexican-Americans have become household names—La Bamba, Selena, and Stand and Deliver, for instance, all of which came out in a 10-year span. But Mexican-Americans were present on-screen long before that moment and played a role in the off-screen American story for even longer. In advance of the event “How Do You Film the (Mexican) American Story?”, featuring La Bamba writer and director Luis Valdez and Selena producer Moctesuma Esparza, we asked film and art scholars: What are the most prominent and memorable on-screen moments in Hollywood history that tell us something about the experience of Mexicans and Mexican- Americans in the U.S.? MAY 26, 2015 SHARE 2 of 6 5/27/2015 1:27 PM Zócalo Public Square :: Movies’ Most Memorable Mexican-American .. -
THE UNIVERSITY of ARIZONA PRESS FALL 2017 the University of Arizona Press Is the Premier Publisher of Academic, Regional, and Literary Works in the State of Arizona
THE UNIVERSITY OF ARIZONA PRESS FALL 2017 The University of Arizona Press is the premier publisher of academic, regional, and literary works in the state of Arizona. We disseminate ideas and knowledge of lasting value that enrich understanding, inspire curiosity, and enlighten readers. We advance the University of Arizona’s mission by connecting scholarship and creative expression to readers worldwide. THE UNIVERSITY OF ARIZONA PRESS CONTENTS ANTHROPOLOGY, 20, 25, 26, 27, 28, 29, 30 ARCHAEOLOGY, 28, 29, 30 BORDER STUDIES, 25 ENVIRONMENTAL STUDIES, 26, 27, 31 HISTORY, 13, 16, 18, 19, 21, 24 INDIGENOUS STUDIES, 7, 16, 17, 18, 19, 20, 21, 22 LATIN AMERICAN STUDIES, 21, 22, 23, 24, 27 LATINO STUDIES, 4–5, 6, 10–11, 12, 13, 14, 15 LITERATURE, 4–5 NATURE, 8–9 POETRY, 6, 7 SPACE SCIENCE, 32 TRAVEL ESSAYS, 2–3 CENTURY COLLECTION, 33 RECENTLY PUBLISHED, 34–36 SELECTED BEST SELLERS, 37–40 SALES INFORMATION, INSIDE BACK COVER CATALOG DESIGN BY LEIGH MCDONALD COVER PHOTOS COURTESY OF BUREAU OF LAND MANAGEMENT/BOB WICK [FRONT] AND KEVIN DOOLEY [INSIDE] CUBA, HOT AND COLD TOM MILLER A rare and timely glimpse of life in Cuba from an expert on the captivating island nation Cuba—mysterious, intoxicating, captivating. Whether you’re planning to go or have just returned, Cuba, Hot and Cold is essential for your bookshelf. With a keen eye and dry wit, author Tom Miller takes readers on an intimate journey from Havana to the places you seldom find in guidebooks. A brilliant raconteur and expert on Cuba, Miller is full of enthralling behind-the-scenes stories. -
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. -
The Relation of Gloria Anzaldúa's Mestiza Consciousness to Mexican American Performance A
University of South Florida Scholar Commons Graduate Theses and Dissertations Graduate School 10-26-2010 Visualizando la Conciencia Mestiza: The Relation of Gloria Anzaldúa’s Mestiza Consciousness to Mexican American Performance and Poster Art Maria Cristina Serrano University of South Florida Follow this and additional works at: http://scholarcommons.usf.edu/etd Part of the American Studies Commons Scholar Commons Citation Serrano, Maria Cristina, "Visualizando la Conciencia Mestiza: The Relation of Gloria Anzaldúa’s Mestiza Consciousness to Mexican American Performance and Poster Art" (2010). Graduate Theses and Dissertations. http://scholarcommons.usf.edu/etd/3591 This Thesis is brought to you for free and open access by the Graduate School at Scholar Commons. It has been accepted for inclusion in Graduate Theses and Dissertations by an authorized administrator of Scholar Commons. For more information, please contact [email protected]. Visualizando la Conciencia Mestiza: The Relation of Gloria Anzaldúa’s Mestiza Consciousness to Mexican American Performance and Poster Art by Maria Cristina Serrano A thesis submitted in partial fulfillment of the requirements for the degree of Master of Liberal Arts Department of Humanities and Cultural Studies College of Arts and Sciences University of South Florida Major Professor: Daniel Belgrad, Ph.D. Adriana Novoa, Ph.D. Ylce Irizarry, Ph.D. Date of Approval: October 26, 2010 Chicano/a, border art, immigration, hybridity, borderlands Copyright © 2010, Maria Cristina Serrano Table of Contents -
David Sanchez Papers
http://oac.cdlib.org/findaid/ark:/13030/c8z3231p No online items Finding Aid for the David Sanchez Papers 1971-2012 Processed by Angel Diaz. UCLA Chicano Studies Research Center UCLA Chicano Studies Research Center 144 Haines Hall Box 951544 Los Angeles, CA 90095-1544 Phone: (310) 206-6052 Fax: (310) 206-1784 URL: http://www.chicano.ucla.edu/ ©2015 The Regents of the University of California. All rights reserved. Finding Aid for the David Sanchez 3 1 Papers 1971-2012 Descriptive Summary Title: David Sanchez Papers, Date (inclusive): 1971-2012 Collection number: 3 Creator: Sanchez, David Extent: .25 linear feet Repository: University of California, Los Angeles. Library. UCLA Chicano Studies Research Center Los Angeles, California 90095-1490 Abstract: David John Sanchez was born and raised in East Los Angeles. As a founding member of the Brown Berets, Sanchez was heavily involved with the Chicano civil and political movements of the late 1960s and 1970s. The collection consists of David Sanchez's resume, 2012 flyer for his run for the 40th District of Congress, a 1972 issue of La Causa, and a photographic print of the Brown Berets' "La Marcha de la Reconquista." The collection also includes two books by Sanchez, "Expedition Through Aztlan" and "Social Communication for Everyone." Both are located in CSRC library stacks. Researchers who would like to indicate errors of fact or omissions in this finding aid can contact the research center at www.chicano.ucla.edu This collection has been delisted from the OAC. Physical location: COLLECTION STORED OFF-SITE AT SRLF: Open for research. Advance notice required for access. -
Music, Movement, Performance, and Power in the Conjunto Dancehalls of the Texas—Mexico Borderlands
Amor en Aztlán: Music, Movement, Performance, and Power in the Conjunto Dancehalls of the Texas—Mexico Borderlands by Wayne Alejandro Wolbert A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Ethnic Studies in the Graduate Division of the University of California, Berkeley Committee in Charge: Professor Laura E. Pérez, Chair Professor David Montejano Professor Paola Bacchetta Summer 2019 © Wayne Alejandro Wolbert 2019 Abstract Amor en Aztlán: Music, Movement, Performance, and Power in the Conjunto Dancehalls of the Texas—Mexico Borderlands by Wayne Alejandro Wolbert Doctor of Philosophy in Ethnic Studies University of California, Berkeley Professor Laura E. Pérez, Chair This dissertation examines the Texas Mexican musical genre known as conjunto and its concomitant social world. In this work I situate conjunto within a broader context of Mexican American cultural production, Texas Mexican popular music, and the shared histories of the U.S.- Mexico borderlands. As a social history, the dissertation traces the development of the genre and its practitioners across the twentieth century to the present. I examine interactions of power; expressions of identity; and constructions of race, class, and gender through movement (dance), performance (instrumentation and playing), and place (the dancehall or nite club) within and around San Antonio and South Texas. I argue that conjunto is an embodiment of Xicanx thought and knowledge, an everyday act of resistance and reaffirmation. 1 Dedicación