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DOCUMENT RESUME Chicano Studies Bibliography
DOCUMENT RESUME ED 119 923 ric 009 066 AUTHOR Marquez, Benjamin, Ed. TITLE Chicano Studies Bibliography: A Guide to the Resources of the Library at the University of Texas at El Paso, Fourth Edition. INSTITUTION Texas Univ., El Paso. PUB DATE 75 NOTE 138p.; For related document, see ED 081 524 AVAILABLE PROM Chicano Library Services, University of Texas at El Paso, El Paso, Texas 79902 ($3.00; 25% discount on 5 or more copies) EDRS PRICE MF-$0.83 HC-$7.35 Plus Postage DESCRIPTORS Audiovisual Aids; *Bibliographies; Books; Films; *library Collections; *Mexican Americans; Periodicals; *Reference Materials; *University Libraries IDENTIFIERS Chicanos; *University of Texas El Paso ABSTRACT Intended as a guide to select items, this bibliography cites approximately 668 books and periodical articles published between 1925 and 1975. Compiled to facilitate research in the field of Chicano Studies, the entries are part of the Chicano Materials Collection at the University of Texas at El Paso. Arranged alphabetically by the author's or editor's last name or by title when no author or editor is available, the entries include general bibliographic information and the call number for books and volume number and date for periodicals. Some entries also include a short abstract. Subject and title indices are provided. The bibliography also cites 14 Chicano magazines and newspapers, 27 audiovisual materials, 56 tape holdings, 10 researc°1 aids and services, and 22 Chicano bibliographies. (NQ) ******************************************14*************************** Documents acquired by ERIC include many informal unpublished * materials not available from other sources. ERIC makes every effort * * to obtain the best copy available. -
Actividades Y Recursos ¿Qué Es Latin Music USA? Es Carlos Santana, Gloria Estefan, Tito Puente, Selena, Shakira, Marc Anthony, Los Lobos
¡Escucha! ¡Explora! ¡Descubre! Actividades y recursos ¿Qué es Latin Music USA? Es Carlos Santana, Gloria Estefan, Tito Puente, Selena, Shakira, Marc Anthony, Los Lobos. Ritmos irresistibles, la cadencia del conguero y las alegres melodías del acordeón tejano. Es todo eso y mucho, mucho más. Descubre las fascinantes fusiones de música, idioma y cultura que han elevado la música latina a la cúspide de los mayores éxitos de acogida y venta en Estados Unidos. Te invitamos a ver Latin Music USA el lunes, 12 de octubre y el lunes, 19 de octubre 9pm (hora del este) u 8pm (hora central) por PBS confírmalo en tu horario local pbs.org/latinmusicusa Aquí hallarás Los sonidos y las voces de Latin Music USA página 3 Actividades para hacer con los amigos y la familia página 7 Te invitamos a ver Latin Music USA el lunes, 12 de Libros y música para los niños octubre y el lunes, 19 de octubre a las at 9pm (hora página 8 del este) u 8pm hora central por PBS confírmalo en tu horario local Selección de sitios web, pbs.org/latinmusicusa Acude al sitio de Latin Music USA películas y libros en Internet para escuchar la música, ver los videos y aprender página 9 más sobre la música y los artistas que se destacan en la serie. Latin Music USA se podrá ver en Internet a partir del 19 de octubre de 2009. Miniexamen sobre Latin Music USA Nota: En algunos episodios se tratan temas que quizás no sean aptos para todos los públicos. página 11 Podrás adquirir Latin Music USA en DVD en ShopPBS.org a partir del otoño. -
JOHNNY GONZALEZ, with IRMA NÚÑEZ INTERVIEWED by KAREN MARY DAVALOS on OCTOBER 28, NOVEMBER 4, 11, and 18, and DECEMBER 17 and 20, 2007
CSRC ORAL HISTORIES SERIES NO. 7, NOVEMBER 2013 JOHNNY GONZALEZ, with IRMA NÚÑEZ INTERVIEWED BY KAREN MARY DAVALOS ON OCTOBER 28, NOVEMBER 4, 11, AND 18, AND DECEMBER 17 AND 20, 2007 Artist and businessman Johnny/Don Juan Gonzalez is recognized as one of the founders of the Chicano Mural Movement in East Los Angeles. He co-founded the Goez Art Studios and Gallery in 1969. His mural designs include those for Story of Our Struggle and The Birth of Our Art. A resident of Los Angeles, Gonzalez is a partner in Don Juan Productions, Advertising, and Artistic Services. Educator Irma Núñez has taught in the Los Angeles Unified School District and has been involved in citywide adult education programs. She is the recipient of the CALCO Excellence in Teaching Award from the California Council for Adult Education. She is a partner in Don Juan Productions, Advertising, and Artistic Services. Karen Mary Davalos is chair and professor of Chicana/o studies at Loyola Marymount University in Los Angeles. Her research interests encompass representational practices, including art exhibition and collection; vernacular performance; spirituality; feminist scholarship and epistemologies; and oral history. Among her publications are Yolanda M. López (UCLA Chicano Studies Research Center Press, 2008); “The Mexican Museum of San Francisco: A Brief History with an Interpretive Analysis,” in The Mexican Museum of San Francisco Papers, 1971–2006 (UCLA Chicano Studies Research Center Press, 2010); and Exhibiting Mestizaje: Mexican (American) Museums in the Diaspora (University of New Mexico Press, 2001). This interview was conducted as part of the L.A. Xicano project. -
Syllabus for RESPECT: Minority Voices in Early Soul, Reggae, Rock, and Folk
Syllabus for RESPECT: Minority Voices in Early Soul, Reggae, Rock, and Folk OLLI UC Berkeley Fall 2021 Mondays, 9:30am-11am Instructor: Richie Unterberger Week One: Social Commentary and Protest in Soul Music, Pt. 1 In Soul of the 1960s While occasional soul songs of the first half of the 1960s had observations about the world at large, for the most part they dealt with romantic love, as well as a good share of tunes about partying and dancing. Many of these songs were great and classic. But wasn’t until the late 1960s that compositions commenting about the American (and sometimes specifically African-American) experience became a significant part of soul music. Curtis Mayfield, principal singer-songwriter of the Impressions, was perhaps the first to regularly express such sentiments. By the late 1960s, other stars like Aretha Franklin, James Brown, Nina Simone, and Sly & the Family Stone were also doing so occasionally. After some initial resistance on the part of its ownership and producers, Motown Records also made significant forays into this territory, most often with the Temptations, but also with the Supremes and other artists. Week Two: Social Commentary and Protest in Soul Music, Pt. 2 In Soul of the 1970s In the first half of the 1970s, socially conscious soul music sometimes gets tougher and more militant. At Motown, Marvin Gaye and Stevie Wonder not only successfully fight for more artistic freedom to record more lyrically aware material, but also focus on long- playing albums as a medium of expression that are at least as important as hit singles. -
PST LA LA Exhibition Descriptions Images 1.22.2018 SPANISH
DESCRIPCIONES DE LAS EXPOSICIONES PARTICIPANTES * Programación de artes escénicas 18th Street Arts Center A Universal History of Infamy: Virtues of Disparity Como parte de su colaboración con el LACMA en A Universal History of Infamy , una exposición enfocada en prácticas artísticas alternativas en Latinoamérica y los Estados Unidos, 18th Street Arts Center presentará A Universal History of Infamy: Virtues of Disparity , una exposición complementaria que presentará trabajos de menor escala que ofrecen distintas perspectivas sobre el arte contemporáneo globalizado actual. Virtues of Disparity se basa en temas de reproducción y engaño. Las obras presentadas investigarán los defectos de diferentes sistemas de escritura y transcripciones y su controvertida relación con la autenticidad. 18th Street Arts Center también presentará una serie de residencias para artistas y colectivos, entre las cuales se incluyen Dolores Zinny y Juan Maidagan, Mapa Teatro, Naufus Ramírez-Figueroa, y NuMu, las cuales servirán como base para el proyecto A Universal History of Infamy en su totalidad. Los artistas y las cooperativas presentes interactuarán con artistas, escuelas, museos y organizaciones comunitarias locales y, en algunos casos, darán lugar a nuevos trabajos de sitio específico. 9 de septiembre de 2017 – 15 de diciembre de 2017 Caption: Mariana Castillo Deball, El dónde estoy va desapareciendo (fragment), 2011. Indian ink on cotton paper. 10 m x 30 cm. Courtesy of the artist The Academy of Motion Picture Arts and Sciences From Latin America to Hollywood: Latino Film Culture in Los Angeles 1967–2017 The Academy of Motion Picture Arts and Sciences presentará una serie de proyecciones cinematográficas, conversaciones con cineastas y contenido en línea que explora las influencias compartidas de cineastas latinoamericanos e hispanos y la obra que han creado o presentado en Los Ángeles durante el último medio siglo. -
The Battle of Los Angeles: the Cultural Politics of Chicana/O Music in the Greater Eastside
Battle of Los Angeles | 719 The Battle of Los Angeles: The Cultural Politics of Chicana/o Music in the Greater Eastside Victor Hugo Viesca Chicanos are, when you call yourself that, you know your history, you know where you came from, you know where you need to go. —Yoatl, Aztlán Underground1 I try to find my own Chicana sensibility in the dance. —Martha Gonzales, Quetzal2 ast Los Angeles is the center of a flourishing musical cultural scene with a renewed “Chicana/o” sensibility.3 This scene is being led by a E collective of socially conscious and politically active Latin-fusion bands that emerged in the 1990s, including Aztlán Underground, Blues Experiment, Lysa Flores, Ozomatli, Ollin, Quetzal, Quinto Sol, Slowrider, and Yeska. These groups compose original songs that weave together the sounds of the Ameri- cas, from soul, samba, and the son jarocho to reggae, rumba, and rap. Multilin- gual lyrics in Spanish, English, Cálo, or Nahuatl that speak to themes of urban exile, indigenous identity, and multiracial unity are layered over the music to produce a sonic Chicana/o imaginary of the global city in the twenty-first century.4 Several of the bands within the scene have released full-length al- bums on their own independent record labels such as Xicano Records and Film (Aztlán Underground and Quinto Sol), De Volada Records (Slowrider and Blues Experiment), and Lysa Flores’s Bring Your Love Records (see dis- cography). The bands often collaborate with one another, producing or play- ing on each other’s records and touring on the same bill. -
John Siqueiros Associate Professor of Practice African American
CHIC 4300 THE ORIGINS OF LATIN@ HIP HOP: Barrios, B-Boys and Beats Siqueiros John Siqueiros Associate Professor of Practice African American Studies Chicano Studies Entering Student Program (formerly Music) LART 401 915-747-8650 AA Studies Office 915-747-6413 Direct or voice 915-667-5915 cell [email protected] This is an upper-level undergraduate course satisfying both diversity and fine arts prerequisites. GRADUATE CREDIT FOR THIS COURSE: In order to obtain graduate credit for this course, you must satisfactorily complete a graduate level project with a topic and parameters approved beforehand by the course instructor. TEXTBOOKS and ASSIGNED READING and VIEWING READING: Zinn, Howard, A People's History of America, Harper Collins. (Available for free at www.historyisaweapon.com) Chapter 1: Columbus, The Indians, and Human Progress Chapter 2: Drawing the Color Line Chapter 3: Persons of Mean and Vile Condition Chapter 4: Tyranny is Tyranny Chapter 6: The Intimately Oppressed Chapter 18: The Impossible War: Vietnam Chapter 22: The Unreported Resistance Chicano Rap: Gender and Violence in the Postindustrial Barrio, Pancho McFarland. Various journal articles available through JSTOR or UTEP Library VIDEOS: CHICANO!: PBS DOCUMENTARY (EPISODES 1-6) AFRICAN AMERICAN: MANY RIVERS TO CROSS (EPISODES 1 - 6) BEYOND BEATS AND RHYMES CHIC 4300 THE ORIGINS OF LATIN@ HIP HOP: Barrios, B-Boys and Beats Siqueiros COURSE DESCRIPTION Latin@ Hip Hop will examine the musical, social, political, cultural, and economic conditions that brought about Black and Latino urban youth culture in the late 1970s and early 1980’s, accentuating achievements by Latin@ artists; and then, beginning in the in the 1990s, trace the birth and development of Chican@ rap starting with Kid Frost and ending with present. -
The Rhetoric of Lowriding: a Misunderstood Cultural Movement in the Public Realm."
CALIFORNIA STATE UNIVERSITY SAN MARCOS THESIS SIGNATURE PAGE THESIS SUBJvlITTEDIN PARTIAL FULFILUvlENT OF THE REQUIREMENTS FOR THE DEGREE MASTER OF ARTS IN LITERATURE ANDWRITING STUDIES THESIS TITLE: "THE RHETORIC OF LOWRIDING: A MISUNDERSTOOD CULTURAL MOVEMENT IN THE PUBLIC REALM." AUTHOR: Francisco Ortega DATE OF SUCCESSFUL DEFENSE: August 3, 2020 THE THESIS HAS BEEN ACCEPTED BY THE THESIS Co:tvlMITTEEIN PARTIAL FULFILLMENT OF THE REQUIREMENTSFOR THE DEGREE OF MASTER OF ARTS IN LITERATURE ANDWRITING STUDIES. Jmie La11Ca! Jtt 08/03/2020 Susie Cassel Susie Lan Cassel (Aug 3, 2020 15:35 PDT) THESIS COMJvlITTEE CHAlR SIGNATURE DATE Yu.Mt,,UM!,, y 08/03/2020 Yuan Yuan Yuan Yuan (Aug 3, 2020 15:18 PDT) THESIS COMJvlITTEEMEMBER SIGNATURE DATE 08/03/2020 Rebecca Lush l-£.�� THESIS COMJvlITTEEMEMBER SIGNATURE DATE Ortega 1 The Rhetoric of Lowriding: A Misunderstood Cultural Movement in the Public Realm A Master’s Thesis by Francisco Adrian Ortega for the Department of Literature & Writing Studies California State University, San Marcos Ortega 2 Preface I’d like to begin by stating that this thesis is my effort as a scholar to positively contribute to the lowrider community, one which is widely misunderstood. In lowrider culture, it is important for unfamiliar audiences to understand the concept of lowriders as vehicles and individuals who embody the cultural values. The limits of this thesis allow for exploration of the lowrider in its very specific ethnic context from which it originated, and the arguments I build within rely on a carefully grounded essentialist approach. I have attempted to offer a nuanced perspective based not only on research, but personal experience, which may not be shared or recognized by all lowriders. -
Seattle, Washington This Book Is Published in Conjunction with the Exhibitionamerican Sabor: Curatorial Team Latinos in U.S
seattle, washington This book is published in conjunction with the exhibitionAmerican Sabor: curatorial team Latinos in U.S. Popular Music, Experience Music Project|Science Fiction Jasen Emmons Museum and Hall of Fame, Seattle, Washington, October 13, 2007– Director of Curatorial Affairs September 7, 2008. Experience Music Project ©2007 Experience Music Project|Science Fiction Museum and Hall of Fame guest curators Marisol Berríos-Miranda, Ph.D. All rights reserved. No part of this publication may be reproduced, Ethnomusicology stored in a retrieval system, or transmitted, in any form or by any Shannon Dudley means: electronic, mechanical, including photocopy, digital recording, Associate Professor, Ethnomusicology or any other information storage and retrieval system, without the University of Washington prior written permission of Experience Music Project|Science Fiction Museum and Hall of Fame. Michelle Habell-Pallán Associate Professor, Women’s Studies University of Washington first edition associate curators Robert Carroll, Ph.C. Design by Jacob McMurray Coordinator of the Seattle Partnership Printed by The Boeing Company in the United States of America for American Popular Music (SPAPM) University of Washington ISBN 10: 0-9779094-1-7 Francisco Orozco, M.A. Ethnomusicology University of Washington back cover image credits Album jacket for Tito Puente King of the Mambo and His Orchestra. curatorial consultants Tico Recording Company, Inc. Leon Gast, Filmmaker 2007.73.31 courtesy of henry medina archives and services Johan Kugelberg, Author and Collector Henry Medina, Henry Medina Archives Hohner two-row, Vienna style accordion, circa 1940s. Rubin Molina, Author 2007.68.1 courtesy of c. l. landin Pablo Yglesias, Author and Deejay Flier for Latin Carnival, featuring Tito Puente, Eddie Palmieri, Ricardo Ray, Willie Bobo, Johnny Colon, Joe Bataan, LeBron brothers, and Mongo experience music project|science fiction musuem and hall of Santamaria at the Manhattan Center, February 9. -
Latino/A Pop Music in the Cultural Mainstream
Seattle University School of Law Digital Commons Faculty Scholarship 1-1-2001 Will the Wolf Survive?: Latino/a Pop Music in the Cultural Mainstream Steven W. Bender Follow this and additional works at: https://digitalcommons.law.seattleu.edu/faculty Part of the Law and Society Commons Recommended Citation Steven W. Bender, Will the Wolf Survive?: Latino/a Pop Music in the Cultural Mainstream, 78 DENV. U. L. REV. 719 (2001). https://digitalcommons.law.seattleu.edu/faculty/357 This Article is brought to you for free and open access by Seattle University School of Law Digital Commons. It has been accepted for inclusion in Faculty Scholarship by an authorized administrator of Seattle University School of Law Digital Commons. For more information, please contact [email protected]. WILL THE WOLF SURVIVE?:* LATINO/A POP MUSIC IN THE CULTURAL MAINSTREAM STEVEN W. BENDER* 2 The American' news media dubbed 1999 as the year of the Latino based almost entirely on the runaway sales success3 and appeal4 of La- *. Titled after track number 11 of the same name from Los Lobos' debut album in 1984 How Will the Wolf Survive? Los LOBos, How WILL THE WOLF SURVIVE (Wea/Warner Bros. 1984). That track is an anthem of hope for cultural and spiritual survival in a challenging and changing America, as is the less hopeful Los Lobos tune One Time, One Night [In America] from 1987. Los LOBOS, One Time, One Night, on BY THE LIGHT OF THE MOON (Wea/Warner Bros. 1987). **. Associate Professor of Law, University of Oregon School of Law. Thanks to the partici- pants at LatCrit V where I presented this paper as part of the plenary Multi/Cultural Artistic Re/Presentations in Mass Media: Capitalism, Power, Privilege and Cultural Production. -
Latino/A Pop Music in the Cultural Mainstream
Denver Law Review Volume 78 Issue 4 Latcrit V Symposium - Class in LatCrit: Theory and Praxis in a World of Economic Article 12 Inequality December 2020 Will the World Survive: Latino/a Pop Music in the Cultural Mainstream Steven W. Bender Follow this and additional works at: https://digitalcommons.du.edu/dlr Recommended Citation Steven W. Bender, Will the World Survive: Latino/a Pop Music in the Cultural Mainstream, 78 Denv. U. L. Rev. 719 (2001). This Article is brought to you for free and open access by Digital Commons @ DU. It has been accepted for inclusion in Denver Law Review by an authorized editor of Digital Commons @ DU. For more information, please contact [email protected],[email protected]. WILL THE WOLF SURVIVE?:* LATINO/A POP MUSIC IN THE CULTURAL MAINSTREAM STEVEN W. BENDER* 2 The American' news media dubbed 1999 as the year of the Latino based almost entirely on the runaway sales success3 and appeal4 of La- *. Titled after track number 11 of the same name from Los Lobos' debut album in 1984 How Will the Wolf Survive? Los LOBos, How WILL THE WOLF SURVIVE (Wea/Warner Bros. 1984). That track is an anthem of hope for cultural and spiritual survival in a challenging and changing America, as is the less hopeful Los Lobos tune One Time, One Night [In America] from 1987. Los LOBOS, One Time, One Night, on BY THE LIGHT OF THE MOON (Wea/Warner Bros. 1987). **. Associate Professor of Law, University of Oregon School of Law. Thanks to the partici- pants at LatCrit V where I presented this paper as part of the plenary Multi/Cultural Artistic Re/Presentations in Mass Media: Capitalism, Power, Privilege and Cultural Production. -
The Chicano Theatre Movement and Actor Training in the United States
FROM LA CARPA TO THE CLASSROOM: THE CHICANO THEATRE MOVEMENT AND ACTOR TRAINING IN THE UNITED STATES Dennis Sloan A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY May 2020 Committee: Jonathan Chambers, Advisor Tim Brackenbury Graduate Faculty Representative Angela K. Ahlgren Cynthia Baron © 2020 Dennis Sloan All Rights Reserved iii ABSTRACT Jonathan Chambers, Advisor The historical narrative of actor training has thus far been limited to the history of Eurocentric actor training. Put another way, it has been predominantly white. While the history of actor training has been understudied in general, the history of training for actors of color has been almost non-existent. Yet scholars including Alison Hodge and Mark Evans have made direct links between actor training and both the evolution of theatre and the development of personal, artistic, and socio-political worldviews. Since the recorded history of actor training focuses almost exclusively on white practitioners, however, this history privileges the experiences and perspectives of white practitioners over those of color. Rooted in the argument that a history of actor training based so exclusively on whiteness is incomplete and inaccurate, this dissertation explores the history of actor training for Latinx actors, especially those who participated in and came out of the Chicanx Theatre Movement of the 1960s and 1970s, and who went on to engage in other training programs afterwards. Relying primarily on original archival research, I document multifaceted attempts to train Latinx actors in the United States in the mid- to late twentieth century.