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A generously illustrated account of the life and work of the prominent Chicano artist, educator, and activist José Montoya (1932-2013) was a leading figure in bilingual and bicultural expression drawn from barrio life as a defining feature of U.S. culture. As an artist, poet, and musician, he produced iconic works depicting pachuco and pachuca culture based on his own experiences as a youth after World War II. These include the poem "El Louie" as well as thousands of political posters and masterful sketches. Montoya cofounded the art collective Royal Chicano Air Force and helped organize for the United Farm Workers. An influential educator, he established the Barrio Art Program in the early 1970s, and taught at California State University, Sacramento. Author Ella Maria Diaz examines a remarkable career that traversed decades, languages, media, and genres. This book is illustrated with reproductions of Montoya's art from rarely seen archival slides and documents, as well as from private collections and the Montoya estate. Through oral histories and archival research, Diaz proposes a new model for the study of Latina/o/x artists who reject the boundaries between visual art, poetry, music, education, and community activism. This book is distributed for the Chicano Studies Research Center at UCLA.
A generously illustrated account of the life and work of the prominent Chicano artist, educator, and activist José Montoya (1932-2013) was a leading figure in bilingual and bicultural expression drawn from barrio life as a defining feature of U.S. culture. As an artist, poet, and musician, he produced iconic works depicting pachuco and pachuca culture based on his own experiences as a youth after World War II. These include the poem "El Louie" as well as thousands of political posters and masterful sketches. Montoya cofounded the art collective Royal Chicano Air Force and helped organize for the United Farm Workers. An influential educator, he established the Barrio Art Program in the early 1970s, and taught at California State University, Sacramento. Author Ella Maria Diaz examines a remarkable career that traversed decades, languages, media, and genres. This book is illustrated with reproductions of Montoya's art from rarely seen archival slides and documents, as well as from private collections and the Montoya estate. Through oral histories and archival research, Diaz proposes a new model for the study of Latina/o/x artists who reject the boundaries between visual art, poetry, music, education, and community activism. This book is distributed for the Chicano Studies Research Center at UCLA.
Chicano activist, poet, artist, intellectual, professor, and musician, José Montoya (1932?2013) was a veritable Renaissance man. Montoya often found inspiration in the verdant fields of the San Joaquin Valley where his family arrived from their home in New Mexico in the 1940s looking for work. The visual artist and poet humanized the farmworker and understood the backbreaking work of field labor from firsthand experience. A Chicano civil rights activist, he marched alongside Cesar Chavez and advanced the cause of the United Farm Workers movement to bring justice and dignity to agricultural laborers. José Montoya's Abundant Harvest honors the artist's prolific work as well as his subject matter in this energetic survey that includes eighty-one of his drawings.
The first book-length study of the Royal Chicano Air Force maps the history of this vanguard Chicano/a arts collective, which used art and cultural production as sociopolitical activism.
A Companion to Latina/o Studies is a collection of 40 original essays written by leading scholars in the field, dedicated to exploring the question of what 'Latino/a' is. Brings together in one volume a diverse range of original essays by established and emerging scholars in the field of Latina/o Studies Offers a timely reference to the issues, topics, and approaches to the study of US Latinos - now the largest minority population in the United States Explores the depth of creative scholarship in this field, including theories of latinisimo, immigration, political and economic perspectives, education, race/class/gender and sexuality, language, and religion Considers areas of broader concern, including history, identity, public representations, cultural expression and racialization (including African and Native American heritage).
Mexican Ballads, Chicano Poems combines literary theory with the personal engagement of a prominent Chicano scholar. Recalling his experiences as a student in Texas, José Limón examines the politically motivated Chicano poetry of the 60s and 70s. He bases his analyses on Harold Bloom's theories of literary influence but takes Bloom into the socio-political realm. Limón shows how Chicano poetry is nourished by the oral tradition of the Mexican corrido, or master ballad, which was a vital part of artistic and political life along the Mexican-U.S. border from 1890 to 1930. Limón's use of Bloom, as well as of Marxist critics Raymond Williams and Fredric Jameson, brings Chicano literature into the arena of contemporary literary theory. By focusing on an important but little-studied poetic tradition, his book challenges our ideas of the American canon and extends the reach of Hispanists and folklorists as well.
Rebelling against bourgeois vacuity and taking their countercultural critique on the road, the Beat writers and artists have long symbolized a spirit of freedom and radical democracy. Manuel Martinez offers an eye-opening challenge to this characterization of the Beats, juxtaposing them against Chicano nationalists like Raul Salinas, Jose Montoya, Luis Valdez, and Oscar Acosta and Mexican migrant writers in the United States, like Tomas Rivera and Ernesto Galarza. In an innovative rereading of American radical politics and culture of the 1950s and 1960s, Martinez uncovers reactionary, neoromantic, and sometimes racist strains in the Beats’ vision of freedom, and he brings to the fore the complex stances of Latinos on participant democracy and progressive culture. He analyzes the ways that Beats, Chicanos, and migrant writers conceived of and articulated social and political perspectives. He contends that both the Beats’ extreme individualism and the Chicano nationalists’ narrow vision of citizenship are betrayals of the democratic ideal, but that the migrant writers presented a distinctly radical and inclusive vision of democracy that was truly countercultural.
In the 1970s, renowned interior designer Juan Montoya lived on La Formentera, a Balearic Island off the Mediterranean coast of Spain. Later, near Garrison, New York, Montoya acquired land and built his place of solace, his own La Formentera. He fulfilled his dream of a property that could evoke the same majesty of that island’s rocky terrain, without the Mediterranean climate. The retreat is made up of an elegantly simple Japanese-style house and 100 acres of pristine landscape, shaped by Montoya himself. Setting out on the paths, one encounters massive stone sculptures, an inviting pool complex, and rustic shelters made of rough stone. A rushing brook runs through the property, and empties into a lake with a small island where thousands of daffodils bloom in the spring. La Formentera is the perfect refuge for Montoya, whose credo is, “I want to be surrounded by beauty and creativity.” Photographer Eric Piasecki has captured that beauty and creativity inherent to this unique place in all seasons—from the deep greens of summer, to the golden leaves of fall, to the pristine snow drifts of winter, to the first blush of spring. Karen Bloch's engaging text tells the remarkable story of the property, as well as the great pleasure it gives Juan Montoya and all who visit there.
Geographically close to Mexico, but surrounded by Anglo-American culture in the United States, Chicanos experience many cultural tensions and contradictions. Their lifeways are no longer identical with Mexican norms, nor are they fully assimilated to Anglo-American patterns. Coping with these tensions—knowing how much to let go of, how much to keep—is a common concern of Chicano writers, who frequently use satire as a means of testing norms and deviations from acceptable community standards. In this groundbreaking study, Guillermo Hernández focuses on the uses of satire in the works of three authors—Luis Valdez, Rolando Hinojosa, and José Montoya—and on the larger context of Chicano culture in which satire operates. Hernández looks specifically at the figures of the pocho (the assimilated Chicano) and the pachuco (the zoot-suiter, or urbanized youth). He shows how changes in their literary treatment—from simple ridicule to more understanding and respect—reflect the culture's changes in attitude toward the process of assimilation. Hernández also offers many important insights into the process of cultural definition that engaged Chicano writers during the 1960s and 1970s. He shows how the writers imaginatively and syncretically formed new norms for the Chicano experience, based on elements from both Mexican and United States culture but congruent with the historical reality of Chicanos. With its emphasis on culture change and creation, Chicano Satire will be of interest across a range of human sciences.