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This idea book was designed to give a focused history and description of Participatory Analysis for Community Action (PACA), while sharing excellent examples from the field that illustrate how volunteers and their communities, host country organizations, and Peace Corps projects have used these tools successfully.
Garifuna live in Central America, primarily Honduras, and the United States. Identified as Black by others and by themselves, they also claim indigenous status and rights in Latin America. Examining this set of paradoxes, Mark Anderson shows how, on the one hand, Garifuna embrace discourses of tradition, roots, and a paradigm of ethnic political struggle. On the other hand, Garifuna often affirm blackness through assertions of African roots and affiliations with Blacks elsewhere, drawing particularly on popular images of U.S. blackness embodied by hip-hop music and culture. Black and Indigenous explores the politics of race and culture among Garifuna in Honduras as a window into the active relations among multiculturalism, consumption, and neoliberalism in the Americas. Based on ethnographic work, Anderson questions perspectives that view indigeneity and blackness, nativist attachments and diasporic affiliations, as mutually exclusive paradigms of representation, being, and belonging. As Anderson reveals, within contemporary struggles of race, ethnicity, and culture, indigeneity serves as a normative model for collective rights, while blackness confers a status of subaltern cosmopolitanism. Indigeneity and blackness, he concludes, operate as unstable, often ambivalent, and sometimes overlapping modes through which people both represent themselves and negotiate oppression.
"Elvia Alvarado tells the story of her life and the life of the people of Honduras. Read it and understand the struggle against tyranny of the poor. Read it and act."--Alice Walker
From the best-selling coauthor of The Disaster Artist and “one of America's best and most interesting writers" (Stephen King), a new collection of stories that range from laugh-out-loud funny to disturbingly dark—unflinching portraits of women and men struggling to bridge the gap between art and life A young and ingratiating assistant to a movie star makes a blunder that puts his boss and a major studio at grave risk. A long-married couple hires an escort for a threesome in order to rejuvenate their relationship. An assistant at a prestigious literary journal reconnects with a middle school frenemy and finds that his carefully constructed world of refinement cannot protect him from his past. A Bush administration lawyer wakes up on an abandoned airplane, trapped in a nightmare of his own making. In these and other stories, Tom Bissell vividly renders the complex worlds of characters on the brink of artistic and personal crises—writers, video-game developers, actors, and other creative types who see things slightly differently from the rest of us. With its surreal, poignant, and sometimes squirm-inducing stories, Creative Types is a brilliant new offering from one the most versatile and talented writers working in America today.
In the early twentieth century, the Boston-based United Fruit Company controlled the production, distribution, and marketing of bananas, the most widely consumed fresh fruit in North America. So great was the company’s power that it challenged the sovereignty of the Latin American and Caribbean countries in which it operated, giving rise to the notion of company-dominated “banana republics.” In A Camera in the Garden of Eden, Kevin Coleman argues that the “banana republic” was an imperial constellation of images and practices that was checked and contested by ordinary Central Americans. Drawing on a trove of images from four enormous visual archives and a wealth of internal company memos, literary works, immigration records, and declassified US government telegrams, Coleman explores how banana plantation workers, women, and peasants used photography to forge new ways of being while also visually asserting their rights as citizens. He tells a dramatic story of the founding of the Honduran town of El Progreso, where the United Fruit Company had one of its main divisional offices, the rise of the company now known as Chiquita, and a sixty-nine day strike in which banana workers declared their independence from neocolonial domination. In telling this story, Coleman develops a new set of conceptual tools and methods for using images to open up fresh understandings of the past, offering a model that is applicable far beyond this pathfinding study.
"Looking at Ourselves and Others contains lesson plans, activities, and readings that help students understand components of their own culture and leads them to appreciate and understand differences between their culture and that of others."--Home page.
Lonely Planet knows Honduras. Whether you want to dive into the deep blue off the coast of the Bay Islands, explore the forests and cobblestoned coffee towns of La Ruta Lenca or tramp around the ancient Mayan temples of Copan, this 2nd edition gives you all you need to enjoy the best of Honduras. Lonely Planet guides are written by experts who get to the heart of every destination they visit. This fully updated edition is packed with accurate, practical and honest advice, designed to give you the information you need to make the most of your trip. In This Guide: Full-Color chapter showcases the best to see and do in Honduras Detailed coverage of the Mayan archaeological ruins of Copan Comprehensive chapter on diving and other outdoor activities