Prof. Cary Cordova Spring 2021 AMS 370 / #31600 Class Schedule: AMS 370 Tues/Thurs, 2 p.m.-3:30 p.m. LATINIDADES: ONLINE Art, Music, &
Performance
How have Latinas/Latinos/Latinxs turned to art as a form of creative expression? And how have they used art to demand social change? This class will contextualize and analyze diverse forms of Latina/o/x artistic expression, including visual art, music, dance, theatre, and film, or what this class will call, “Latinidades.”
Moving from the mid-twentieth century into the twenty-first century, students will study these diverse constructions of Latinidad alongside the politics of community organizing amongst various communities, and in conversation with the histories of Chicana/o/x, Puerto Rican, Dominican, and Salvadoran populations.
Topics will include representations of citizenship and immigration; borders and surveillance; community formation, displacement, and segregation; access to and content of education; and the construction and criteria of art history. Students also will engage with how citizenship, nation, race, gender, sexuality, class, and ability have complicated these artistic representations. As students develop an understanding of the range and diversity of artistic expressions (graphics, cartoons, paintings, murals, photographs, films, installations, performance art, dances, songs, poems, plays, and comedy), they also will develop an understanding of the complexity of Latino communities, and the coalitions and conflicts bridging and dividing larger social movements.
Course Objectives:
n To introduce students to diverse aesthetics, contexts, and politics of Latina/o/x art and its interconnections with U.S. histories and Latina/o/x social movements;
n To skill students in critically analyzing a variety of artistic mediums, including visual art, music, theatre, and film;
n To engage students in major themes and debates shaping Latina/o/x art, including tracing ideologies about citizenship and immigration; community formation, displacement, and segregation; local, national, and international borders and surveillance; access to and content of education; and the construction and criteria of art history;
n To interrogate how citizenship, nation, race, gender, sexuality, class, and ability have complicated these debates and artistic mediums;
n To examine how structural inequalities have shaped artistic expressions and the lives of Latina/o/x artists;
n And to connect scholarly research, analysis, and writing with creative expressions.
REQUIRED TEXTS:
n This class relies on a variety of articles and relevant online materials, which students can access via the course Canvas site: https://utexas.instructure.com
n Any exceptions also will be noted on Canvas and in class announcements.
n If you have trouble accessing the Canvas system, please contact the UT helpdesk (512- 475-9400).
n Please note: Some printed texts, art, and videos will incorporate statements in other languages, not always with translations.
GRADING:
n Latinx Art in the News (2 pages) (5%): Students will sign up for one day over the course of the semester to deliver a 5-10 minute report on Latinx art to the class and submit a short paper corresponding to the report. The objective is to familiarize students with contemporary resources on Latinx news, to link our readings to contemporary issues and debates, and to build discussions from multiple voices.
n Art and Politics Essay (4-5 pages) (20%): The first section of our class, “Living in America,” focuses on the experiences of Latina/o/x artists living in the United States and various complex representations of inclusion and exclusion. For this essay, students will choose a work of art covered in our “Living in America” segment (or seek the permission of the professor). They will conduct additional research on this artist / art and develop a thoughtful essay about the work. Most art can be interpreted in a multiplicity of ways. This essay requires students to apply the tools of analysis that we are developing in the first section of the class and compose a thoughtful, persuasive discussion of the work of art in its larger social context. Students may wish to consider how the work illustrates forms of inclusion, exclusion, politics, and/or resistance. Students are required to develop their argument using at least two of our class readings and at least five additional sources.
n Art on the Border Essay (5-7 pages) (20%): This essay assignment will focus on the second section of our class, which will focus on the ways that the border and immigration have served as key issues in the work of many Latino artists. Students are encouraged to select an artist / art work covered in this section of the class and engage with the strategies that an artist uses to represent, contest, or spur change. How does their approach help them express their ideas? What contradictions or complexities emerge as you study their work? How might this material help us think through the larger cultural context? Students are required to develop their argument using at least two of our class readings and at least five additional sources. n Latinidades Final Paper (10-12 pages):
o Option A (25%): Students will draw on the themes and content of this class to develop a well-researched, well-organized, well-argued, persuasive essay. Students can identify an artist, a group of artists, an artwork, a series of art, and/or a specific artistic medium (murals, photography, fine art, theatre, etc.) to analyze. This paper will require students to do more substantial research on a topic that speaks to their interests in the class.
o Option B (25%): Students are invited to participate in a developing project to document community murals in San Francisco or Austin (other cities and towns have very relevant murals, but the focus on these two locations is an effort to collaborate with ongoing documentation efforts). Students should be willing to share their research and writing with a larger public. Students will select a minimum of 4-5 murals, preferably murals that need to be documented, as opposed to ones that are more recognized. They will conduct research on the artists, medium, origins, history, and iconography of the murals, including discussing artist intentions and public reception. While students also need to write the same amount as for the research paper, this assignment does not have to be as cohesive, since each mural may have a very different history and intent.
o Both options will require:
o Research Proposal (1-2 pages) (5%): This final essay will require an initial research proposal to help students develop their ideas and seek guidance and sources from the professor.
o Final Presentation (7-10 minutes) (5%): Students will present on their research topic in the last two weeks of the class. n Attendance and Participation (20%):
o Because class participation is considered an important part of this class, I will note attendance, but I am seeking more than the appearance of a blank screen in the classroom. Online classes do require some new methods of engagement, but we are a small class, and I think we can generate some meaningful online discussions. Students can participate in ways that show they have done the reading, or are actively engaged in the class. A variety of class exercises will ensure you are up-to-date with readings and contributing to class discussion. I appreciate engagement more than quantity of comments.
§ Tips for participation: As you read, think about what you might add to our discussion. What ideas are driving the reading? How is the argument supported? Consider not just your personal reaction, but the big picture questions and contradictions. Come to class with questions for discussion or with related ideas to make connections.
o Discussion Forums: This online class will occasionally draw on discussion forums posted alongside our readings on Canvas to help us develop thoughtful discussions about the readings, ideas, arguments, artists, and art work. The objective is to enrich our engagement with the course materials, to build our capacity to analyze and engage complex ideas, and to develop our ideas diplomatically and respectfully. These asynchronous discussion forums also may serve to replace a synchronous class meeting at certain points in the semester, to be announced.
§ All students are required to participate in the discussion forums when they are assigned.
§ Meaningful participation in a discussion forum is usually conveyed with a well-developed question, or a thoughtful paragraph, so, something along the lines of 150-200 words.
§ For some discussion forums, students will be assigned alternating responsibilities as a member of the “Kick-Off” team, or the “Engagement” team. The intent is to cultivate listening and engagement with each other, and promote more cross-communication. Teams are welcome to work together on these discussion forums.
§ Students can develop questions, draw out points of confusion, connect course materials to related current events and art, or engage more closely with one of the works of art relevant to the discussion.
§ Students can choose to skip participation in one discussion forum over the course of the semester.
§ Discussion forums will be graded credit/no credit and reviewed in the broader spirit of participation and engagement with class materials. n EXTRA CREDIT
o As the semester rolls along, there may be a few opportunities for extra credit. Extra credit opportunities often entail attending an event or talk related to our class and submitting a short paper (1-2 pages) on how the content of the event relates to the content of our class. If you have an idea for an extra credit assignment, you are welcome to discuss it with the professor.
o So, what is extra credit worth? Extra credit is given weight in the assessment of your participation grade. It is meant to help students that would like a little more recognition in this aspect of the grading process. It is in no way required, but it can help push students up a couple of points in their overall participation grade.
GRADING SCALE:
100-93 = A 92-90 = A- 87-89 = B+ 84-86 = B 80-83 = B- 77-79 = C+ 74-76 = C 70-73 = C- 67-69 = D+ 64-66 = D 60-63 = D- 0-59 = F
Q Drop Policy (modified for Fall 2020 and Spring 2021 semesters) If you want to drop a class after the 12th class day, you’ll need to execute a Q drop before the Q- drop deadline, which typically occurs near the middle of the semester, but has been extended for the spring 2021 semester to May 11. Under Texas law, you are only allowed six Q drops while you are in college at any public Texas institution—however, for the fall 2020 and spring 2021semesters, all Q-drops will be considered “non-academic,” which allows students to drop a class without counting toward the six-class limit. For more information about Q drops in general, see: http://www.utexas.edu/ugs/csacc/academic/adddrop/qdrop For information about fall 2020 and spring 2021 updates to the Q Drop Policy, see: https://t.e2ma.net/message/r3htee/j51jb0.
Pass/Fail or Credit/No Credit Grading Policy For the spring 2021 semester, undergraduate students may choose to have a total of three (3) classes graded on a Pass/Fail or Credit/No Credit basis without penalty. These exceptions are new and apply only to the fall 2020 and spring 2021 semesters. For more information please visit UT's policy on the Extended deadline for Q-drops and P/F Flexibility.
POLICIES:
CLASSROOM CONDUCT:
n Students are expected to be attentive, respectful, and polite to all classmates and instructors. In order to build the best possible learning environment, please be respectful of the professor and other students. Students who engage in disruptive or disrespectful behavior on email, Zoom, the course discussion board or any other form of class communication may be asked to leave the course.
n Personal Pronoun Use (She / He / They / Ze / Etc.): Class rosters list a student’s legal name, unless they have added a “preferred name” with the Gender and Sexuality Center (http://diversity.utexas.edu/genderandsexuality/publications-and-resources/). If you use another name or other pronouns, please let me know, and I will update my records and address you accordingly.
ASSIGNMENTS AND LATE POLICY:
n Statement on Flexibility: We are in a state of global emergency, and many students and professors are in need of flexible deadlines. I will rely on deadlines to keep our class moving forward, but I also encourage students to reach out to me about any obstacles and possible modifications.
n Communication is important: If students do not coordinate a revised deadline with me, then they risk being held responsible for the late assignment and can lose up to one letter grade for each day past the due date.
n Readings and Assignments Due: Students are expected to do the required readings for each class in advance of attending class. All assignments are due at the beginning of the scheduled class. Careless editing will incur deductions.
ACCOMMODATION / Universal Design for Learning:
n The university is committed to creating an accessible and inclusive learning environment consistent with university policy and federal and state law. Please let me know if you experience any barriers to learning so I can work with you to ensure you have equal opportunity to participate fully in this course.
n If you are a student with a disability, or think you may have a disability, and need accommodations please contact Services for Students with Disabilities (SSD). Please refer to SSD’s website for contact and more information: http://diversity.utexas.edu/disability/.
n If you are already registered with SSD, please deliver your Accommodation Letter to me as early as possible in the semester so we can discuss your approved accommodations and needs in this course.
n Students who need assistance, but do not yet have an official letter of support, are still encouraged to alert the professor to possible accommodations to coordinate support in advance. Immediate concerns will be handled on a case-by-case basis, and official documentation will help guide proper accommodations.
n Emergencies: Any student who faces challenges securing their food or housing and believes this may affect their performance in the course is urged to contact the Dean of Students Emergency Services for support: http://deanofstudents.utexas.edu/emergency/ Furthermore, please notify the professor if you are comfortable in doing so. This will enable her to provide any resources that she may possess. n Mental Health Resources: If you are worried about a fellow student in class, a roommate, co-worker, friend, or instructor or if you have questions or need support related to COVID-19 you can anonymously contact the Behavior Concerns and COVID- 19 Advice Line (BCCAL). They can be reached at 512-232-5050 or online at https://www.utexas.edu/campus-life/safety-and-security. You can also access counseling and psychiatric services at UT’s Counseling and Mental Health Center. During the COVID-19 pandemic, they are offering telehealth services, virtual groups, classes and wellness workshops. You can call their crisis line, available 24/7 at 512-471-2255 their website is: https://cmhc.utexas.edu/ n Religious observances: Texas Education Code 51.911 states that a student shall be excused from attending classes or other required activities, including examinations, for the observance of a religious holy day, including travel for that purpose. A student whose absence is excused under this subsection may not be penalized for that absence and shall be allowed to take an examination or complete an assignment from which the student is excused within a reasonable time after the absence. University policy requires students to notify each of their instructors as far in advance of the absence as possible so that arrangements can be made.
ACADEMIC INTEGRITY: n Each student in the course is expected to abide by the University of Texas Honor Code: “As a student of The University of Texas at Austin, I shall abide by the core values of the University and uphold academic integrity.” You are responsible for understanding UT’s Academic Honesty and the University Honor Code which can be found at the following web address: https://deanofstudents.utexas.edu/conduct/standardsofconduct.php n Academic dishonesty is not tolerated and ALL incidents of dishonesty will be reported to the Office of the Dean of Students and Student Judicial Services. Academic dishonesty includes, but is not limited to, cheating, plagiarism (the unauthorized appropriation of another’s work – including from Websites – in one’s own written work offered for credit) and collusion (the unauthorized collaboration with another person in preparing college work offered for credit). n PLAGIARISM: Students who commit plagiarism are subject to immediate failure of the class, in addition to facing the policies of the University. Students should be aware that all writing assignments may be submitted to a plagiarism-detection tool, such as Turnitin.com, as part of a larger effort to address plagiarism and improper citation. If you are unclear what plagiarism is, I would encourage you to visit the following website: https://guides.lib.utexas.edu/c.php?g=539686&p=8083280 n Sharing of Course Materials is Prohibited: No materials used in this class, including, but not limited to, lecture hand-outs, videos, assessments (quizzes, exams, papers, projects, homework assignments), in-class materials, review sheets, and additional problem sets, may be shared online or with anyone outside of the class unless you have my explicit, written permission. Unauthorized sharing of materials promotes cheating. It is a violation of the University’s Student Honor Code and an act of academic dishonesty. I am well aware of the sites used for sharing materials, and any materials found online that are associated with you, or any suspected unauthorized sharing of materials, will be reported to Student Conduct and Academic Integrity in the Office of the Dean of Students. These reports can result in sanctions, including failure in the course. n Class Recordings: Class recordings are reserved only for students in this class for educational purposes and are protected under FERPA. The recordings should not be shared outside the class in any form. Violation of this restriction by a student could lead to Student Misconduct proceedings. n COVID Caveats: To help keep everyone at UT and in our community safe, it is critical that students report COVID-19 symptoms and testing, regardless of test results, to University Health Services, and faculty and staff report to the HealthPoint Occupational Health Program (OHP) as soon as possible. Please see this link to understand what needs to be reported. In addition, to help understand what to do if a fellow student in the class (or the instructor or TA) tests positive for COVID, see this University Health Services link. n Title IX Reporting: Title IX is a federal law that protects against sex and gender-based discrimination, sexual harassment, sexual assault, sexual misconduct, dating/domestic violence and stalking at federally funded educational institutions. UT Austin is committed to fostering a learning and working environment free from discrimination in all its forms. When sexual misconduct occurs in our community, the university can: 1. Intervene to prevent harmful behavior from continuing or escalating. 2. Provide support and remedies to students and employees who have experienced harm or have become involved in a Title IX investigation. 3. Investigate and discipline violations of the university’s relevant policies (https://titleix.utexas.edu/relevant-polices/).
Beginning January 1, 2020, Texas Senate Bill 212 requires all employees of Texas universities, including faculty, report any information to the Title IX Office regarding sexual harassment, sexual assault, dating violence and stalking that is disclosed to them. Texas law requires that all employees who witness or receive any information of this type (including, but not limited to, writing assignments, class discussions, or one-on-one conversations) must be reported. I am a Responsible Employee and must report any Title IX related incidents that are disclosed in writing, discussion, or one-on-one. Before talking with me, or with any faculty or staff member about a Title IX related incident, be sure to ask whether they are a responsible employee. If you would like to speak with someone who can provide support or remedies without making an official report to the university, please email [email protected]. For more information about reporting options and resources, visit http://www.titleix.utexas.edu/, contact the Title IX Office via email at [email protected], or call 512-471-0419.
RESOURCES:
n The Sanger Learning Center: Did you know that more than one-third of UT undergraduate students use the Sanger Learning Centereach year to improve their academic performance? All students are welcome to take advantage of Sanger Center’s classes and workshops, private learning specialist appointments, peer academic coaching, and tutoring for more than 70 courses in 15 different subject areas. For more information, please visit http://www.utexas.edu/ugs/slcor call 512- 471-3614 (JES A332).
n Undergraduate Writing Center: http://uwc.utexas.edu/
n UT Libraries: http://www.lib.utexas.edu/
n ITS: http://www.utexas.edu/its/
n Student Emergency Services: http://deanofstudents.utexas.edu/emergency/
n BeVocal: BeVocal is a university-wide initiative to promote the idea that individual Longhorns have the power to prevent high-risk behavior and harm. At UT Austin all Longhorns have the power to intervene and reduce harm. To learn more about BeVocal and how you can help to build a culture of care on campus, go to: https://wellnessnetwork.utexas.edu/BeVocal
Course Schedule:
Please Note:
1. This schedule is subject to change as needed. Changes to the schedule may be made at my discretion and if circumstances require. It is your responsibility to note these changes when announced (although I will do my best to ensure that you receive the changes with as much advanced notice as possible).
2. Students should complete the readings for the day they are listed, so they are prepared for that day’s class.
WEEK ONE
Tuesday, January 19:
n Welcome and Introduction Thursday, January 21:
I: Living in America: Nations, Patriotisms, & Belongings
n Latinos and the Star-Spangled Banner o Hear: Lyrics of Clotilde Arias: “El Pendón Estrellado,” https://www.youtube.com/watch?v=bZ1LB1XQ-Us o Read: “Not Lost in Translation: The Life of Clotilde Arias,” an online exhibit created by the National Museum of American History, Smithsonian Institution, 2012-2013. This exhibit includes 10 slides, starting with the “Introduction,” at this link (please read all slides, especially “Advertising” “Pan-Americanism” and “The Star-Spangled Banner”: https://americanhistory.si.edu/documentsgallery/exhibitions/arias/index.html o Hear: “Nuestro Himno”: “A Spanish Version of ‘The Star-Spangled Banner,” NPR, April 28, 2006, https://www.npr.org/templates/story/story.php?storyId=5369145 o Read: “The Spanish ‘Star-Spangled Banner’ is Being Used to Honor Hispanic Workers Fighting COVID-19,” Time, April 14, 2020: https://time.com/5818871/spanish-national-anthem/ o Read: María Elena Cepeda, “Singing the ‘Star-Spanglish Banner: The Politics and Pathologization of Bilingualism in U.S. Popular Media,” Beyond El Barrio: Everyday Life in Latina/o America, eds., Gina Perez, Frank Guridy, and Adrian Burgos (New York University Press, 2010).
WEEK TWO:
Tuesday, January 26:
n Saludos Amigos! Disney’s Good Neighbors o Read: Rubén Ortiz-Torres, “Macho Mouse Remix,” How to Read El Pato Pascual: Disney’s Latin America & Latin America’s Disney, eds., Jesse Lerner and Rubén Ortiz-Torres, 108-113. o Nate Harrison, “Ducks in a Row,” How to Read El Pato Pascual: Disney’s Latin America & Latin America’s Disney, eds., Jesse Lerner and Rubén Ortiz- Torres, 57-65.
Thursday, January 28:
n How To Read Donald Duck o Read: Ariel Dorfman and Armand Mattelart, translated by David Kunzle, Excerpts, How to Read Donald Duck: Imperialist Ideology in the Disney Comic (OR Books, 2018; orig. published 1971). Entire text available by logging in to UT Library JSTOR database: https://doi- org.ezproxy.lib.utexas.edu/10.2307/j.ctv62hf1k o Read: Jordan Robertson, Michael Riley, and Andrew Willis, “How to Hack an Election,” Bloomberg, March 31, 2016. https://www.bloomberg.com/features/2016-how-to-hack-an-election/ o Watch: Rodrigo Dorfman, “How To Read Donald Duck Redux” (12 minutes) https://vimeo.com/234572740 [a short film adapted from the feature documentary, Occupy the Imagination: Tales of Seduction and Resistance.]
WEEK THREE:
Tuesday, February 2:
n Queer for Uncle Sam o Read: Jason Ruiz, “Rita Moreno,” Latino Studies, Vol 17, 3, 390-400. o Read: Deborah Paredez, “‘Queer for Uncle Sam’: Anita’s Latina Diva Citizenship in West Side Story,” Latino Studies, Vol. 12, 3, 332-352. o Watch: West Side Story. The film is available to students here: https://digitalcampus-swankmp- net.ezproxy.lib.utexas.edu/univtxaustin352936/play/48a4fdbb56da60b7 § Students are encouraged to watch all of the film. If time is an issue, please try to watch the first hour, especially scenes with Rita Moreno, in particular, her performance of “I want to live in America” available approximately 49 minutes into the film. o Discussion Forum for West Side Story
Thursday, February 4:
n Haciendo Patria o Read: Michelle Joan Wilkinson, “Haciendo Patria: The Puerto Rican Flag and the Art of Juan Sánchez,” Small Axe: A Caribbean Journal of Criticism 8.2 (2004), 61-83.
WEEK FOUR:
Tuesday, February 9:
n Nuyorican Interventions o Read: Collection of Nuyorican Poetry o Read: Katharine Q. Seelye, “Adál Maldonado, Provocative ‘Nuyorican’ Photographer, Dies at 72,” The New York Times, January 2, 2021. https://www.nytimes.com/2021/01/02/arts/adal-maldonado-provocative- nuyorican-photographer-dies-at-72.html o Tour: https://elpuertoricanembassy.msa-x.org/index.html
Thursday, February 11:
n Nuyorican Historiographies in the work of Lin-Manuel Miranda o Read: Gabriel Mayora, “Rise up: Nuyorican Resistance and Transcultural Aesthetics in Hamilton,” Studies in Musical Theatre 12, no. 2 (June 1, 2018): 153–166. https://search.lib.utexas.edu/permalink/01UTAU_INST/apl7st/cdi_crossref_prima ry_10_1386_smt_12_2_153_1 o Read: Stuart M. McManus, “Hip–hop historiography: Lin-manuel Miranda’s hamilton and the latinx historical imagination,” Latino Studies, 16 (2), 259- 267. doi: http://dx.doi.org.ezproxy.lib.utexas.edu/10.1057/s41276-018-0126-y o TBA: Hoping to facilitate a way to watch: Hamilton o Discussion Forum for Hamilton
WEEK FIVE: II: The Border, Immigration, and Artistic Interventions
Tuesday, February 16:
n Experiencing the Border: o Watch: The Infiltrators, directed by Alex Rivera and Cristina Ibarra, San Francisco, California, USA: Oscilloscope Laboratories, 2019. https://search.lib.utexas.edu/permalink/01UTAU_INST/be14ds/alma9910581 60549706011 o Discussion Forum on The Infiltrators o Art and Politics Essay DUE Thursday, February 18:
n Alex Rivera Films and Discussion Cont’d o Watch: Selected Shorts To Be Announced o Discussion Forum on Selected Shorts o Read: To Be Announced
WEEK SIX:
Tuesday, February 23:
n Migra Mouse o Read: Héctor Fernández L’Hoeste, “Introduction” and “Lalo Alcaraz in the Context of Latino Comics,” and “A Q&A with Lalo Alcaraz,” Lalo Alcaraz: Political Cartooning in the Latino Community (University Press of Mississippi, 2017). o Read: Lalo Alcaraz, excerpt, Migra Mouse: Political Cartoons on Immigration (New York: RDV Books /. Akashic Books, 2004), p. 9-46. o Bring: Select a Lalo Alcaraz cartoon that you find relevant to our discussions. Be prepared to share the image and discuss the politics of the image.
Thursday, February 25:
n Seeing Migration, Seeing Labor, Seeing Humanity: The Art of Ramiro Gomez, Dulce Pinzón, and Julio Salgado o Read: Kelly Chung, “The Defiant Still Worker: Ramiro Gomez and the Expressionism of Abstract Labor,” Women & performance 29, no. 1 (January 2, 2019): 62–76. o Read: Dulce Pinzón, Excerpt, The Real Story of the Superheroes o Watch: https://www.youtube.com/watch?v=Btck6tmwd-I&feature=emb_logo o Read: Hinda Seif, “Layers of Humanity: Interview with Undocuqueer Artivist Julio Salgado,” Latino Studies 12, no. 2 (Summer, 2014): 300-309. doi: http://dx.doi.org.ezproxy.lib.utexas.edu/10.1057/lst.2014.31
WEEK SEVEN:
Tuesday, March 2:
n Border Interventions and Digital Zapatistas: o Read: Nadja Sayez, “A Time for Guerrilla DIY’: How The Mexico-U.S. Border Became a Hub for Protest Art” The Guardian, February 13, 2017,
Thursday, March 4:
n The Border Is … Radical Cartographies and the Art of Guillermo Gómez-Peña o Read: Guillermo Gómez-Peña, “The Free Trade Art Agreement / El Tratado de Libre Cultura,” New World Border: Prophecies, Poems & Loqueras for the End of the Century (San Francisco, CA: City Lights, 1996), 5-18. o Read: Carolina Ponce de Leon, “Encounters and Disencounters: A Personal Journey through Many Latin American and U.S. Latino Art Worlds,” Over Here: International Perspectives on Art and Culture, eds., Gerardo Mosquera and Jean Fisher (New York: New Museum of Contemporary Art, 2004). 137-151. o Browse and Choose a Favorite Intervention: Guillermo Gómez-Peña, “Multiple Journeys: The Life and Work of Guillermo Gómez-Peña,” Conversations Across Borders: A Performance Artist Converses with Theorists, Curators, Activists and Fellow Artists, edited by Laura Levin (London: Seagull Books, 2011), 318-350.
WEEK EIGHT:
Public Art: Contested Histories and Territories
Tuesday, March 9:
n Flipping The Gaze o Read: Coco Fusco, “The Other History of Intercultural Performance,” English is Broken Here: Notes on Cultural Fusion in the Americas (New York: The New Press, 1995), 37-63. o Watch: Couple in the Cage
Thursday, March 11:
n Chicano Park o Watch: Chicano Park (60 minutes), Director, Marilyn Mulford, 1988. o Due: Art on the Border Essay
WEEK NINE:
n Spring Break WEEK TEN:
Tuesday, March 23:
n The Art Around Us: Murals, Public Art, and Representation o Read: Cary Cordova, “Hombres y Mujeres Muralistas on a Mission: Painting Latino Identities in 1970s San Francisco,” The Heart of the Mission: Latino Art and Politics in San Francisco (Philadelphia: University of Pennsylvania Press, Inc, 2017). https://search.lib.utexas.edu/permalink/01UTAU_INST/apl7st/cdi_askewsholts_v lebooks_9780812294149 o Read: Robin D.G. Kelley, “We’re Getting These Murals All Wrong,” The Nation, September 10, 2019, https://www.thenation.com/article/archive/arnautoff- mural-life-washington/
Thursday, March 25:
n Murales Rebeldes o Read: Erin M. Curtis, “Contested Histories,” and Guisela Latorre, “¡Murales Rebeldes! Remembering the Lost Works,” ¡Murales Rebeldes! L.A. Chicana/Chicano Murals Under Siege, eds., Erin M. Curtis, Jessica Hough, and Guisela Latorre (California Historical Society, 2017, 15-16 and 30-41; o Read: Erin M. Curtis, “Barbara Carrasco: L.A. History: A Mexican Perspective,” ¡Murales Rebeldes! p.42-57. o Read: “Too Chicano? The Path to Knowledge and the False University,” ¡Murales Rebeldes! p.58-79. o Visit: “Enroll in Chicano Studies’: Roberto Chavez’s 1970s Mural at East Los Angeles College” https://muralesrebeldes.org/enroll-in-chicano-studies- roberto-chavezs-1970s-mural-at-east-los-angeles-college/
WEEK ELEVEN:
Tuesday, March 30:
n Remembering Chicano Art and History in Austin o Watch: Austin Revealed: Chicano Civil Rights ‘Role of Chicano Identity in Arts’. https://www.youtube.com/watch?v=Mx6vh4hJl_c o Additional Materials To Be Announced o Bring: Mural Show and Tell (Drawing on Mural Archives, including ArtStor) Thursday, April 1:
n Maestrapeace o Read: Angela Y. Davis, “Foreword,” Maestrapeace: San Francisco’s Monumental Feminist Mural (San Francisco: Heyday, 2019), 11-39. o Visit: https://womensbuilding.org/the-mural/ o Watch: Maestrapeace video o Due: Final Paper Research Proposal
WEEK TWELVE:
Tuesday, April 6:
n CARA: Chicano Art: Resistance and Affirmation o Read: Shifra Goldman and Tomas Ybarra-Frausto, “The Political and Social Contexts of Chicano Art,” in Chicano Art: Resistance and Affirmation, 1965- 1985 (UCLA Wight Art Gallery, 1990), 83-95. o Read: Tomas Ybarra-Frausto, “Rasquachismo: A Chicano Sensibility,” Chicano Art: Resistance and Affirmation, 1965-1985 (UCLA Wight Art Gallery, 1990), 155-162. o Read: Harry Gamboa, Jr., “In the City of Angels, Chameleons, and Phantoms: Asco, a Case Study of Chicano Art in Urban Tones (or Asco Was a Four- Member Word),” Chicano Art: Resistance and Affirmation, 1965-1985 (UCLA Wight Art Gallery, 1990), 121-130. o Read: Amalia Mesa-Bains, “El Mundo Feminino: Chicana Artists of the Movement—A Commentary on Development and Production,” Chicano Art: Resistance and Affirmation, 1965-1985 (UCLA Wight Art Gallery, 1990), 131- 140. Thursday, April 8:
n THE SOUND OF THE CHICANA/O MOVEMENT o Read: Estevan Azcona, “Rolas de Aztlán: Songs of the Chicano Movement,” Smithsonian Folkways Recordings.
WEEK THIRTEEN:
Tuesday, April 13:
n Art of The Third World Strike o Cary Cordova, “The Third World Strike and the Globalization of Chicano Art,” The Heart of the Mission: Latino Art and Politics in San Francisco (Philadelphia: University of Pennsylvania Press, Inc, 2017), 92-125. Thursday, April 15:
n Archiving an Epidemic o Robb Hernandez, Excerpts, Archiving an Epidemic: Art, AIDS, and the Queer Chicanx Avant-Garde (New York: New York University Press, 2019). o Chavoya, C. Ondine, et al, Excerpts, Axis Mundo: Queer Networks in Chicano L.A. (Los Angeles, CA: ONE National Gay & Lesbian Archives at the USC Libraries, 2017).
WEEK FOURTEEN:
Tuesday, April 20:
n The Films of Jim Mendiola o Watch: Jim Mendiola, director, Pretty Vacant (33 minutes), https://vimeo.com/230014389 o Watch: Jim Mendiola, director, Speeder Kills (84 minutes), 2003. https://vimeo.com/263013743 o Read: Ariana Ruiz, “EX-VOTO #7: Print Culture and the Creation of an Alternative Latinidad in the Work of Jim Mendiola,” In Latinx Ciné in the Twenty-First Century, edited by Aldama Frederick Luis, 186-201. University of Arizona Press, 2019. Accessed January 18, 2021. http://www.jstor.org/stable/j.ctvp2n39f.13. o Discussion Forum
Thursday, April 22:
n Wrapping Up with Jim Mendiola, Rosita Fernandez, and The Alamo o READ: Deborah Vargas, “Remember the Alamo, Remember Rosita Fernández,” Dissonant Divas in Chicana Music: The Limits of La Onda (Minneapolis: University of Minnesota Press, 2012), 1-53.
WEEK FIFTEEN:
Tuesday, April 27:
n Student Final Presentations Thursday, April 29:
n Student Final Presentations WEEK SIXTEEN:
Tuesday, May 4:
n Student Final Presentations Thursday, May 6:
n Student Final Presentations n Last Day – Review n Submit final project