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"Papel Chicano Dos: Works on Paper from the Collection of Cheech Marin" presents 65 artworks by 24 established and emerging artists. Their work demonstrates a myriad of techniques from watercolor and aquatint to pastel and mixed media, dates from the late 1980s to present day, and offers iconic imagery with influences ranging from pre-Hispanic symbols and post-revolutionary nationalistic Mexican motives to Chicano movement of the 1960s and contemporary urban culture. Featured artists are Carlos Almaraz, Charles "Chaz" Bojórquez, Pablo Andres Cristi, Carlos Donjuán, Gaspar Enríquez, Sonya Fe, Emmanuel Galvez, Margaret García, Roberto Gil de Montes, CiCi Segura González, Raúl Guerrero, Roberto Gutiérrez, Adán Hernández, Benito Huerta, Leo Limón, Gilbert "Magu" Luján, Cesar A. Martínez, Glugio "Gronk" Nicondra, Wenceslao Quiroz, Frank Romero, Sonia Romero, Ricardo Ruiz, John Valadez, and Vincent Valdez. The book is presented by Cheech Marin; produced, edited and published by Melissa Richardson Banks of CauseConnect, LLC; and designed by Eva Crawford. Artworks were photographed by Lisa Mansy Photography with support by Ted Meyer of Art Your World.
Strikes, boycotts, rallies, negotiations, and litigation marked the efforts of Mexican-origin community members to achieve educational opportunities and oppose discrimination in Houston schools in the early 1970s. The Houston Independent School District sparked these responses because it circumvented a court order to desegregate by classifying Mexican American children as "white" and integrating them with African American children--leaving Anglos in segregated schools. In Brown, Not White Guadalupe San Miguel, Jr., traces the evolution of the community's political activism in education during the Chicano Movement era of the early 1970s. San Miguel also identifies the important implications of this struggle for Mexican Americans and for public education. The political mobilization in Houston signaled a shift in the activist community's identity from the assimilationist "Mexican American Generation" to the rising Chicano Movement with its "nationalist" ideology. It also introduced Mexican American interests into educational policy making in general and into the national desegregation struggles in particular. This important study will engage those interested in public school policy as well as scholars of Mexican American history and the history of desegregation in America.
Originating in the early seventies, Chicano art long remained unrecognised by the art and gallery world. This text features the work of 26 Chicano artists and marks the transition of this unique and exciting movement into the critical fold of contemporary art.
This book analyzes the language policies that result from the promulgation of linguistic rights in the constitutions and statutes of the United States and its territories. The United States is a nation in which speakers of minority languages were conquered or incorporated and the languages spoken by them were suppressed or neglected. Since the 1960’s, the United States and its territories have seen a resurgence of claims for language recognition by minority groups representing a considerable population (Spanish in Puerto Rico and the Southwestern states, Chamorro in Guam, Chamorro and Carolinian in the Northern Mariana Islands, and Samoan in American Samoa). Also, the book studies recent developments regarding the status and use of English in the United States and some of its territories. For example, studying the effects of legal, social, educational, and political contexts on the Spanish language in the Southwestern states, and Pacific languages (Chamorro, Carolinian, and Samoan) in Guam, the Northern Mariana Islands, and American Samoa, reveals that English continues to be used as the main language of communication in all these places despite continuous efforts to protect the rights of indigenous languages by their native populations. For these reasons, it is important to compare the linguistic laws promulgated in the constitutions and statutes of the United States and its territories, or the lack thereof, as a response to the demands for linguistic rights by sectors of the population who do not speak English as a first language or who may seek to maintain the use of one or more indigenous languages. The book offers insights to those in charge of drafting legislation in the area of language rights. It shows how the United States and its territories could recognize and accommodate linguistic diversity.
Bringing Aztlán to Mexican Chicago is the autobiography of Jóse Gamaliel González, an impassioned artist willing to risk all for the empowerment of his marginalized and oppressed community. Through recollections emerging in a series of interviews conducted over a period of six years by his friend Marc Zimmerman, González looks back on his life and his role in developing Mexican, Chicano, and Latino art as a fundamental dimension of the city he came to call home. Born near Monterey, Mexico, and raised in a steel mill town in northwest Indiana, González studied art at the School of the Art Institute of Chicago and the University of Notre Dame. Settling in Chicago, he founded two major art groups: El Movimiento Artístico Chicano (MARCH) in the 1970s and Mi Raza Arts Consortium (MIRA) in the 1980s. With numerous illustrations, this book portrays González's all-but-forgotten community advocacy, his commitments and conflicts, and his long struggle to bring quality arts programming to the city. By turns dramatic and humorous, his narrative also covers his bouts of illness, his relationships with other artists and arts promoters, and his place within city and barrio politics.
Printing and collecting the revolution : the rise and impact of Chicano graphics, 1965 to now / E. Carmen Ramos -- Aesthetics of the message : Chicana/o posters, 1965-1987 / Terezita Romo -- War at home : conceptual iconoclasm in American printmaking / Tatiana Reinoza -- Chicanx graphics in the digital age / Claudia E. Zapata.
ñDavid is mine!î Mrs. Renteria shouts out to her neighbors gathered about the dead but handsome young man found in the dry riverbed next to their homes in a Los Angeles barrio. ñDavid?î Tiburcio asked. ñSince when is his name David? He looks to me more like a ƒî Tiburcio glanced at the manÍs face, ñƒ a Luis.î Mrs. RenteriaÍs neighbors call out a litany of names that better suit the mysterious corpse: Roberto, Antonio, Henry, Enrique, Miguel, Roy, Rafael. The very first winner of the Chicano / Latino Literary Prize in 1974, Ron AriasÍ ñThe Wetbackî uses dark humor to reflect on the appearance of a dead brown man in their midst. This landmark collection of prize-winning fiction, poetry, and drama paints a historical and aesthetic panorama of Chicana/o and Latina/o letters over a twenty-five-year period beginning in 1974 and ending in 1999. Most, but not all, of the winning entries are featured in this anthology, which also includes second- and third-place winners, as well as honorable mentions. Now entering its thirty-first year, the award has recognized a wide variety of writers, from established ones such as Juan Felipe Herrera, Michael Nava, and Helena Maria Viramontes, to those that are lesser known. Many of the pieces in this anthology are considered to be foundational texts of Chicana/o and Latina/o literature, and those that are not as widely recognized deserve more serious study and attention. Presented in chronological order, the selected writings are primarily in English, although some are written in Spanish, and others in Spanglish. Some, like Francisco X. AlarconÍs poem ñRaices / Roots,î appear in both languages: ñMis raices / las cargo / siempre / conmigo / enrolladas / me sirven / de almohada.î ñI carry / my roots / with me / all the time / rolled up / I use them / as my pillow.î In addition to the diverse array of authors, styles, and genres, the works included in this collection cover a wide range of themes, from more political issues of ethnic, gender, and class.
Defending Their Own in the Cold: The Cultural Turns of U.S. Puerto Ricans explores U.S. Puerto Rican culture in past and recent contexts. The book presents East Coast, Midwest, and Chicago cultural production while exploring Puerto Rican musical, film, artistic, and literary performance. Working within the theoretical frame of cultural, postcolonial, and diasporic studies, Marc Zimmerman relates the experience of Puerto Ricans to that of Chicanos and Cuban Americans, showing how even supposedly mainstream U.S. Puerto Ricans participate in a performative culture that embodies elements of possible cultural "Ricanstruction." Defending Their Own in the Cold examines various dimensions of U.S. Puerto Rican artistic life, including relations with other ethnic groups and resistance to colonialism and cultural assimilation. To illustrate how Puerto Ricans have survived and created new identities and relations out of their colonized and diasporic circumstances, Zimmerman looks at the cultural examples of Latino entertainment stars such as Jennifer Lopez and Benicio del Toro, visual artists Juan Sánchez, Ramón Flores, and Elizam Escobar, as well as Nuyorican dancer turned Midwest poet Carmen Pursifull. The book includes a comprehensive chapter on the development of U.S. Puerto Rican literature and a pioneering essay on Chicago Puerto Rican writing. A final essay considers Cuban cultural attitudes towards Puerto Ricans in a testimonial narrative by Miguel Barnet and reaches conclusions about the past and future of U.S. Puerto Rican culture. Zimmerman offers his own "semi-outsider" point of reference as a Jewish American Latin Americanist who grew up near New York City, matured in California, went on to work with and teach Latinos in the Midwest, and eventually married a woman from a Puerto Rican family with island and U.S. roots.