¡Chicana Power! provides a critical genealogy of pioneering Chicana activist and theorist Anna NietoGomez and the Hijas de Cuauhtémoc, one of the first Latina feminist organizations, who together with other Chicana activists forged an autonomous space for women's political participation and challenged the gendered confines of Chicano nationalism in the movement and in the formation of the field of Chicana studies. She uncovers the multifaceted vision of liberation that continues to reverberate today as contemporary activists, artists, and intellectuals, both grassroots and academic, struggle for, revise, and rework the political legacy of Chicana feminism.
The rich documentation concerning these people, commonly called Aztecs, includes, in addition to a few codices written before the Conquest, thousands of folios in the Nahuatl or Aztec language written by natives after the Conquest. Adapting the Latin alphabet, which they had been taught by the missionary friars, to their native tongue, they recorded poems, chronicles, and traditions.
The fundamental concepts of ancient Mexico presented and examined in this book have been taken from more than ninety original Aztec documents. They concern the origin of the universe and of life, conjectures on the mystery of God, the possibility of comprehending things beyond the realm of experience, life after death, and the meaning of education, history, and art. The philosophy of the Nahuatl wise men, which probably stemmed from the ancient doctrines and traditions of the Teotihuacans and Toltecs, quite often reveals profound intuition and in some instances is remarkably “modern.”
This English edition is not a direct translation of the original Spanish, but an adaptation and rewriting of the text for the English-speaking reader.
Candelario draws on her participant observation in a Dominican beauty shop in Washington Heights, a New York City neighborhood with the oldest and largest Dominican community outside the Republic, and on interviews with Dominicans in New York City, Washington, D.C., and Santo Domingo. She also analyzes museum archives and displays in the Museo del Hombre Dominicano and the Smithsonian Institution as well as nineteenth- and early-twentieth-century European and American travel narratives.
12.5 million Africans were shipped to the New World during the Middle Passage. While just over 11.0 million survived the arduous journey, only about 450,000 of them arrived in the United States. The rest--over ten and a half million--were taken to the Caribbean and Latin America. This astonishing fact changes our entire picture of the history of slavery in the Western hemisphere, and of its lasting cultural impact. These millions of Africans created new and vibrant cultures, magnificently compelling syntheses of various African, English, French, Portuguese, and Spanish influences.
Despite their great numbers, the cultural and social worlds that they created remain largely unknown to most Americans, except for certain popular, cross-over musical forms. So Henry Louis Gates, Jr. set out on a quest to discover how Latin Americans of African descent live now, and how the countries of their acknowledge--or deny--their African past; how the fact of race and African ancestry play themselves out in the multicultural worlds of the Caribbean and Latin America. Starting with the slave experience and extending to the present, Gates unveils the history of the African presence in six Latin American countries--Brazil, Cuba, the Dominican Republic, Haiti, Mexico, and Peru--through art, music, cuisine, dance, politics, and religion, but also the very palpable presence of anti-black racism that has sometimes sought to keep the black cultural presence from view.
In Brazil, he delves behind the façade of Carnaval to discover how this 'rainbow nation' is waking up to its legacy as the world's largest slave economy.
In Cuba, he finds out how the culture, religion, politics and music of this island is inextricably linked to the huge amount of slave labor imported to produce its enormously profitable 19th century sugar industry, and how race and racism have fared since Fidel Castro's Communist revolution in 1959.
In Haiti, he tells the story of the birth of the first-ever black republic, and finds out how the slaves's hard fought liberation over Napoleon Bonaparte's French Empire became a double-edged sword.
In Mexico and Peru, he explores the almost unknown history of the significant numbers of black people--far greater than the number brought to the United States--brought to these countries as early as the sixteenth and seventeenth centuries, and the worlds of culture that their descendants have created in Vera Cruz on the Gulf of Mexico, the Costa Chica region on the Pacific, and in and around Lima, Peru.
Professor Gates' journey becomes ours as we are introduced to the faces and voices of the descendants of the Africans who created these worlds. He shows both the similarities and distinctions between these cultures, and how the New World manifestations are rooted in, but distinct from, their African antecedents. "Black in Latin America" is the third instalment of Gates's documentary trilogy on the Black Experience in Africa, the United States, and in Latin America. In America Behind the Color Line, Professor Gates examined the fortunes of the black population of modern-day America. In Wonders of the African World, he embarked upon a series of journeys to reveal the history of African culture. Now, he brings that quest full-circle in an effort to discover how Africa and Europe combined to create the vibrant cultures of Latin America, with a rich legacy of thoughtful, articulate subjects whose stories are astonishingly moving and irresistibly compelling.
Most previous translations have relied on Spanish versions rather than the original K’iche’-Maya text. Based on ten years of research by a leading scholar of Maya literature, this translation with extensive notes is uniquely faithful to the original language. Retaining the poetic style of the original text, the translation is also remarkably accessible to English readers.
Illustrated with more than eighty drawings, photographs, and maps, Allen J. Christenson’s authoritative version brings out the richness and elegance of this sublime work of literature, comparable to such epic masterpieces as the Ramayana and Mahabharata of India or the Iliad and Odyssey of Greece.
Macías conducted numerous interviews for Mexican American Mojo, and the voices of little-known artists and fans fill its pages. In addition, more famous musicians such as Ritchie Valens and Lalo Guerrero are considered anew in relation to their contemporaries and the city. Macías examines language, fashion, and subcultures to trace the history of hip and cool in Los Angeles as well as the Chicano influence on urban culture. He argues that a grass-roots “multicultural urban civility” that challenged the attempted containment of Mexican Americans and African Americans emerged in the neighborhoods, schools, nightclubs, dance halls, and auditoriums of mid-twentieth-century Los Angeles. So take a little trip with Macías, via streetcar or freeway, to a time when Los Angeles had advanced public high school music programs, segregated musicians’ union locals, a highbrow municipal Bureau of Music, independent R & B labels, and robust rock and roll and Latin music scenes.
Randall gives readers an inside look at her children's education, the process through which new law was enacted, the ins and outs of healthcare, employment, internationalism, culture, and ordinary people's lives. She explores issues of censorship and repression, describing how Cuban writers and artists faced them. She recounts one of the country's last beauty pageants, shows us a night of People's Court, and takes us with her when she shops for her family's food rations. Key figures of the revolution appear throughout, and Randall reveals aspects of their lives never before seen.
More than fifty black and white photographs, most by the author, add depth and richness to this astute and illuminating memoir. Written with a poet's ear, depicted with a photographer's eye, and filled with a feminist vision, To Change the Worldùneither an apology nor gratuitous attackùadds immensely to the existing literature on revolutionary Cuba.
. . . there are many kinds of light.
The light of fires. The light of stars.
The light that reflects off rivers.
Light that penetrates through cracks.
Then there’s the type of light that reflects off the skin.
—Nilo Cruz, Anna in the Tropics
This lush romantic drama depicts a family of cigar makers whose loves and lives are played out against the backdrop of America in the midst of the Depression. Set in Ybor City (Tampa) in 1930, Cruz imagines the catalytic effect the arrival of a new "lector" (who reads Tolstoy’s Anna Karenina to the workers as they toil in the cigar factory) has on a Cuban-American family. Cruz celebrates the search for identity in a new land.
"The words of Nilo Cruz waft from the stage like a scented breeze. They sparkle and prickle and swirl, enveloping those who listen in both specific place and time . . . and in timeless passions that touch us all. In Anna in the Tropics, the world premiere work he created for Coral Gables’ intimate New Theatre, Cruz claims his place as a storyteller of intricate craftsmanship and poetic power."—Miami Herald
Nilo Cruz is a young Cuban-American playwright whose work has been produced widely around the United States including the Public Theater (New York, NY), South Coast Repertory (Costa Mesa, CA), Magic Theatre (San Francisco, CA), Oregon Shakespeare Festival, McCarter Theater (Princeton, NJ) and New Theatre (Coral Gables, FL). His other plays include Night Train to Bolina, Two Sisters and a Piano, Hortensia and the Museum of Dreams, among others. Anna in the Tropics also won the Steinberg Award for Best New Play. Mr. Cruz teaches playwriting at Yale University and lives in New York City.
In Oye Como Va!, Deborah Pacini Hernandez traces the trajectories of various U.S. Latino musical forms in a globalizing world, examining how the blending of Latin music reflects Latino/a American lives connecting across nations. Exploring the simultaneously powerful, vexing, and stimulating relationship between hybridity, music, and identity, Oye Como Va! asserts that this potent combination is a signature of the U.S. Latino/a experience.
Paredez argues that Selena’s death galvanized Latina/o efforts to publicly mourn collective tragedies (such as the murders of young women along the U.S.-Mexico border) and to envision a brighter future. At the same time, reactions to the star’s death catalyzed political jockeying for the Latino vote and corporate attempts to corner the Latino market. Foregrounding the role of performance in the politics of remembering, Paredez unravels the cultural, political, and economic dynamics at work in specific commemorations of Selena. She analyzes Selena’s final concert, the controversy surrounding the memorial erected in the star’s hometown of Corpus Christi, and the political climate that served as the backdrop to the touring musicals Selena Forever and Selena: A Musical Celebration of Life. Paredez considers what “becoming” Selena meant to the young Latinas who auditioned for the biopic Selena, released in 1997, and she surveys a range of Latina/o queer engagements with Selena, including Latina lesbian readings of the star’s death scene and queer Selena drag. Selenidad is a provocative exploration of how commemorations of Selena reflected and changed Latinidad.
Drawing on previously untapped documents in the Trujillo National Archives and interviews with Dominicans who recall life under the dictator, Derby emphasizes the role that public ritual played in Trujillo’s exercise of power. His regime included the people in affairs of state on a massive scale as never before. Derby pays particular attention to how events and projects were received by the public as she analyzes parades and rallies, the rebuilding of Santo Domingo following a major hurricane, and the staging of a year-long celebration marking the twenty-fifth year of Trujillo’s regime. She looks at representations of Trujillo, exploring how claims that he embodied the popular barrio antihero the tíguere (tiger) stoked a fantasy of upward mobility and how a rumor that he had a personal guardian angel suggested he was uniquely protected from his enemies. The Dictator’s Seduction sheds new light on the cultural contrivances of autocratic power.
The contributors are Augustine H. Agwuele, Christine Ayorinde, Matt D. Childs, Gibril R. Cole, David Eltis, Toyin Falola, C. Magbaily Fyle, Rosalyn Howard, Robin Law, Babatunde Lawal, Russell Lohse, Paul E. Lovejoy, Beatriz G. Mamigonian, Robin Moore, Ann O'Hear, Luis Nicolau ParÃ©s, Michele Reid, João JosÃ© Reis, Kevin Roberts, and Mariza de Carvalho Soares.
Blacks in the Diaspora -- Claude A. Clegg III, editor
Darlene Clark Hine, David Barry Gaspar, and John McCluskey, founding editors
Contributors. Rina Cáceres Gómez, Lowell Gudmundson, Ronald Harpelle, Juliet Hooker, Catherine Komisaruk, Russell Lohse, Paul Lokken, Mauricio Meléndez Obando, Karl H. Offen, Lara Putnam, Justin Wolfe
So quipped Antonin Scalia about Sonia Sotomayor at the Supreme Court's annual end-of-term party in 2010. It's usually the sort of event one would expect from such a grand institution, with gentle parodies of the justices performed by their law clerks, but this year Sotomayor decided to shake it up—flooding the room with salsa music and coaxing her fellow justices to dance.
It was little surprise in 2009 that President Barack Obama nominated a Hispanic judge to replace the retiring justice David Souter. The fact that there had never been a nominee to the nation's highest court from the nation's fastest growing minority had long been apparent. So the time was ripe—but how did it come to be Sonia Sotomayor?
In Breaking In: The Rise of Sonia Sotomayor and the Politics of Justice, the veteran journalist Joan Biskupic answers that question. This is the story of how two forces providentially merged—the large ambitions of a talented Puerto Rican girl raised in the projects in the Bronx and the increasing political presence of Hispanics, from California to Texas, from Florida to the Northeast—resulting in a historical appointment. And this is not just a tale about breaking barriers as a Puerto Rican. It's about breaking barriers as a justice.
Biskupic, the author of highly praised judicial biographies of Justice Antonin Scalia and Justice Sandra Day O'Connor, now pulls back the curtain on the Supreme Court nomination process, revealing the networks Sotomayor built and the skills she cultivated to go where no Hispanic has gone before. We see other potential candidates edged out along the way. And we see how, in challenging tradition and expanding our idea of a justice (as well as expanding her public persona), Sotomayor has created tension within and without the court's marble halls.
As a Supreme Court justice, Sotomayor has shared her personal story to an unprecedented degree. And that story—of a Latina who emerged from tough times in the projects not only to prevail but also to rise to the top—has even become fabric for some of her most passionate comments on matters before the Court. But there is yet more to know about the rise of Sonia Sotomayor. Breaking In offers the larger, untold story of the woman who has been called "the people's justice."
Contributors are Brenda D. Arellano, Leo R. Chavez, Yvette G. Flores, Ramón A. Gutiérrez, Aída Hurtado, Olga Nájera-Ramírez, Chon A. Noriega, Manuel Pastor Jr., Armida Ornelas, Russell W. Rumberger, Daniel Solórzano, Enriqueta Valdez Curiel, and Abel Valenzuela Jr.
In this historical ethnography, Jennifer R. Nájera offers a layered rendering and analysis of Mexican segregation in a South Texas community in the first half of the twentieth century. Using oral histories and local archives, she brings to life Mexican origin peoples' experiences with segregation. Through their stories and supporting documentary evidence, Nájera shows how the ambiguous racial status of Mexican origin people allowed some of them to be exceptions to the rule of Anglo racial dominance. She demonstrates that while such exceptionality might suggest the permeability of the color line, in fact the selective and limited incorporation of Mexicans into Anglo society actually reinforced segregation by creating an illusion that the community had been integrated and no further changes were needed. Nájera also reveals how the actions of everyday people ultimately challenged racial/racist ideologies and created meaningful spaces for Mexicans in spheres historically dominated by Anglos.