Barbara Carrasco Papers
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Justice and Injustice in Three Mexican-American Playwrights
MAN'S INHUMANITY TO MAN: JUSTICE AND INJUSTICE IN THREE MEXICAN-AMERICAN PLAYWRIGHTS by JOSHUA AL MORA, B.A., M.A. A DISSERTATION IN • SPANISH Submitted to the Graduate Faculty of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY Approved Accepted Dean of the Graduate School December, 1994 ACKNOWLEDGEMENTS I would like to take this time to thank the members of my dissertation committee: Dr. Janet Perez, Dr. Harley Oberhelman, Dr. Wendell Aycock and Dr. Roberto Bravo. A special thanks goes out to Dr. P6rez who worked very closely with me and spent many hours reading and editing my dissertation. A special note of thanks goes out to all of my committee members for their belief in me and their inspiration during what have been the most difficult times of my life. Thank you for offering your help and for all you did. A special thank you also to the Department of Classical and Modern Languages at Texas Tech University and the faculty and staff for all of your support and encouragement. Esta obra va dedicada a mi padre, que en paz descanse, y a mi madre quienes con mucha paciencia esperaron que yo terminara. Gracias a su fe y sus oraciones se cumplib esta obra. 11 TABLE OF CONTENTS ACKNOWLEDGEMENTS ii ABSTRACT iv I. INTRODUCTION 1 II. THE ROOTS OF CHICANO AND OTHER TERMS 40 III. THE WAR IN THE FIELDS 72 IV. THE STRUGGLE TO ENTER THE UNITED STATES 113 V. IN SEARCH OF RESPECT IN THE SCHOOLS 148 VI. -
Oral History Interview with Barbara Carrasco
Oral history interview with Barbara Carrasco The digital preservation of this interview received Federal support from the Latino Initiatives Pool, administered by the Smithsonian Latino Center. 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 General............................................................................................................................. 2 Scope and Contents........................................................................................................ 1 Scope and Contents........................................................................................................ 2 Biographical / Historical.................................................................................................... 1 Names and Subjects ...................................................................................................... 2 Container Listing ...................................................................................................... Oral history interview with Barbara Carrasco AAA.carras99 Collection Overview Repository: Archives of American Art Title: Oral history interview with Barbara Carrasco Identifier: -
Being Edward James Olmos: Culture Clash and the Portrayal of Chicano Masculinity
Studies in 20th & 21st Century Literature Volume 32 Issue 2 Theater and Performance in Nuestra Article 12 América 6-1-2008 Being Edward James Olmos: Culture Clash and the Portrayal of Chicano Masculinity Nohemy Solózano-Thompson Whitman College Follow this and additional works at: https://newprairiepress.org/sttcl Part of the Film and Media Studies Commons This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. Recommended Citation Solózano-Thompson, Nohemy (2008) "Being Edward James Olmos: Culture Clash and the Portrayal of Chicano Masculinity," Studies in 20th & 21st Century Literature: Vol. 32: Iss. 2, Article 12. https://doi.org/ 10.4148/2334-4415.1686 This Article is brought to you for free and open access by New Prairie Press. It has been accepted for inclusion in Studies in 20th & 21st Century Literature by an authorized administrator of New Prairie Press. For more information, please contact [email protected]. Being Edward James Olmos: Culture Clash and the Portrayal of Chicano Masculinity Abstract This paper analyzes how Culture Clash problematizes Chicano masculinity through the manipulation of two iconic Chicano characters originally popularized by two films starring dwarE d James Olmos - the pachuco from Luis Valdez’s Zoot Suit (1981) and the portrayal of real-life math teacher Jaime Escalante in Stand and Deliver (1988). In “Stand and Deliver Pizza” (from A Bowl of Beings, 1992), Culture Clash tries to introduce new Chicano characters that can be read as masculine, and who at the same time, display alternative behaviors and characteristics, including homosexual desire. The three characters in “Stand and Deliver Pizza” represent stock icons of Chicano masculinity. -
The Woman in the Zoot Suit: Gender, Nationalism, and the Cultural Politics of Memory, by Catherine S
BOOK REVIEWS The Woman in the Zoot Suit: Gender, Nationalism, and the Cultural Politics of Memory, by Catherine S. Ramírez (Durham, NC: Duke University Press, 2009. 229 pp. Paper, $22.95.) Reviewed by María Angela Díaz ccording to historian Catherine S. Ramírez, women are conspicuously ab- sent from the story of the World War II era, the zoot suit, and the creation Aof Chicano cultural nationalism. In The Woman in the Zoot Suit: Gender, Nationalism, and the Cultural Politics of Memory, Ramírez admirably sets out to correct this problem through her discussion of pachucas and their involvement in zoot-suit culture as well as the 1942 Sleepy Lagoon case and the Zoot-Suit Riots. While recent studies such as Luis Alvarez’s The Power of the Zoot: Youth Culture and Resistance During World War II address the suit’s importance to Mexican Americans and other ethnic and racial groups, Ramírez creatively links the zoot-suit culture of the 1940s with the Chicana/o artists of later de- cades to reveal how these artists redefined the pachuco and the zoot suit, mak- ing both icons of Chicano/a culture. She demonstrates that women were not simply hangers-on, but were integral to the formation of this culture, and that Chicana feminists used the memory of the pachuca in poetry and art to create their own version of Chicano/a nationalism that did not cast them as strange or beyond the scope of proper Chicano/a gender roles. The first of the book’s two sections focuses on the World War II era and American nationalism, while the second emphasizes the movement-era develop- ment of Chicano/a nationalism. -
Excerpted from Kathy Peiss, Zoot Suit: the Enigmatic Career of an Extreme Style (Philadelphia: University of Pennsylvania Press, 2011)
Excerpted from Kathy Peiss, Zoot Suit: The Enigmatic Career of an Extreme Style (Philadelphia: University of Pennsylvania Press, 2011). 6 For JTASZooting Around use the World only ‘‘ ome authorities feel that the only thing to do is to let the whole myste- rious business wear itself out and disappear through inner exhaus- Stion of its possibilities,’’ reported Agnes Meyer in the wake of the Los Angeles riot.1 In fact, it was much harder than those authorities thought to shrug off the zoot suit. During the war and for decades there- after, this style traveled across time and place, appealing to youths whose lives otherwise diverged. It turned up in wartime Great Britain and Aus- tralia, despite orders by their governments to conserve cloth for the du- ration. Bahamian farm hands, brought to Florida to pick crops, surprised their hosts by appearing in zoot suits. Canada had its own versions of zoot-suit unrest in the summer of 1944, and in occupied France, zazous sporting long coats and narrow trousers outraged officials. After the war, young people in other countries—from the stiliagi of the Soviet Union to the tsotsis of South Africa—picked up and adapted elements of an extreme style that had originated in American culture. The zoot suit was never a leading cultural product or intentional export of the United States in an era when the nation’s films, music, and consumer goods were reaching around the globe. Yet this seem- ingly ephemeral fashion traveled to many places during and after World War II. It is a telling example of a commodity that circulated 158 Chapter 6 without marketing campaigns and advertising but rather along ob- scure routes and through informal networks of influence—a process that has likely been more common than studies of consumer culture have recognized. -
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. -
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. -
Printing the Revolution! the Rise and Impact of Chicano Graphics, 1965 to Now November 20, 2020 — August 8, 2021 Checklist
¡Printing the Revolution! The Rise and Impact of Chicano Graphics, 1965 to Now November 20, 2020 — August 8, 2021 Checklist Lalo Alcaraz I Stand with Emma 2018 digital image Smithsonian American Art Museum Gift of the artist 2020.41 Jesus Barraza, Dignidad Rebelde I Am Alex Nieto and My Life Matters 2014 screenprint on paper Smithsonian American Art Museum Gift of the artist 2020.39.4 Jesus Barraza, Dignidad Rebelde; and Nancypili Hernandez, Indian Land 2010 screenprint on paper Smithsonian American Art Museum Museum purchase through the Samuel and Blanche Koffler Acquisition Fund 2020.39.7 Jesus Barraza, Dignidad Rebelde Steve Biko 2001/2013 screenprint on paper Smithsonian American Art Museum Museum purchase through the Samuel and Blanche Koffler Acquisition Fund 2020.39.3 ¡Printing the Revolution! The Rise and 1 Impact of Chicano Graphics, 1965 to Now Smithsonian American Art Museum Checklist 11/16/2020 – RM Jesus Barraza, Dignidad Rebelde Edward Said 2005 screenprint on paper Smithsonian American Art Museum Museum purchase through the Samuel and Blanche Koffler Acquisition Fund 2020.39.8 Francisco X Camplis Untitled (February), from Galería de la Raza's 1975 Calendario 1975 screenprint on paper Smithsonian American Art Museum Gift of the Margaret Terrazas Santos Collection 2019.52.12 Barbara Carrasco Messages to the Public: Pesticides! (Presented by Public Art Fund, July 1, 1989-July 31, 1989 on Times Square Spectacolor board, New York City) 1989 analog video transferred to digital video, 0:48 minutes Smithsonian American Art Museum Gift of the artist 2020.31 Barbara Carrasco Dolores 1999 screenprint on paper Smithsonian American Art Museum Museum purchase through the Frank K. -
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. -
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. -
(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. -
Chicano Studies Research Center Annual Report 2018-2019 Submitted by Director Chon A. Noriega in Memory of Leobardo F. Estrada
Chicano Studies Research Center Annual Report 2018-2019 Submitted by Director Chon A. Noriega In memory of Leobardo F. Estrada (1945-2018) 1 TABLE OF CONTENTS I. DIRECTOR’S MESSAGE 3 HIGHLIGHTS 5 II. DEVELOPMENT REPORT 8 III. ADMINISTRATION, STAFF, FACULTY, AND ASSOCIATES 11 IV. ACADEMIC AND COMMUNITY RELATIONS 14 V. LIBRARY AND ARCHIVE 26 VI. PRESS 43 VII. RESEARCH 58 VIII. FACILITIES 75 APPENDICES 77 2 I. DIRECTOR’S MESSAGE The UCLA Chicano Studies Research Center (CSRC) was founded in 1969 with a commitment to foster multi-disciplinary research as part of the overall mission of the university. It is one of four ethnic studies centers within the Institute of American Cultures (IAC), which reports to the UCLA Office of the Chancellor. The CSRC is also a co-founder and serves as the official archive of the Inter-University Program for Latino Research (IUPLR, est. 1983), a consortium of Latino research centers that now includes twenty-five institutions dedicated to increasing the number of scholars and intellectual leaders conducting Latino-focused research. The CSRC houses a library and special collections archive, an academic press, externally-funded research projects, community-based partnerships, competitive grant and fellowship programs, and several gift funds. It maintains a public programs calendar on campus and at local, national, and international venues. The CSRC also maintains strategic research partnerships with UCLA schools, departments, and research centers, as well as with major museums across the U.S. The CSRC holds six (6) positions for faculty that are appointed in academic departments. These appointments expand the CSRC’s research capacity as well as the curriculum in Chicana/o and Latina/o studies across UCLA.