By Arturo J. Aldama, Naomi Quinonez
The interdisciplinary essays in Decolonial Voices speak about racialized, subaltern, feminist, and diasporic identities and the cultured politics of hybrid and mestiza/o cultural productions. This assortment represents a number of key instructions within the box: First, it charts how subaltern cultural productions of the US/ Mexico borderlands converse to the intersections of "local," "hemispheric," and "globalized" energy family members of the border imaginary. moment, it recovers the Mexican women's and Chicana literary and cultural heritages which have been overlooked through Euro-American canons and patriarchal exclusionary practices. It additionally expands the box in postnationalist instructions through growing an interethnic, comparative, and transnational discussion among Chicana and Chicano, African American, Mexican feminist, and U.S. local American cultural vocabularies. participants contain Norma Alarc?n, Arturo J. Aldama, Frederick Luis Aldama, Cordelia Ch?vez Candelaria, Alejandra Elenes, Ram?n Garcia, Mar?a Herrera-Sobek, Patricia Penn Hilden, Gaye T. M. Johnson, Alberto Ledesma, Pancho McFarland, Amelia Mar?a de l. a. Luz Montes, Laura Elisa P?rez, Naomi Qui?onez, Sarah Ramirez, Rolando J. Romero, Delberto Dario Ruiz, Vicki Ruiz, Jos? David Sald?var, Anna Sandoval, and Jonathan Xavier Inda.
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Additional resources for Decolonial Voices: Chicana and Chicano Cultural Studies in the 21st Century
And ed. Lynn Stephen. Boston: South End Press, 1994. White, Hayden. Tropics of Discourse: Essays in Cultural Criticism. Baltimore: John Hopkins University Press, 1978. 2 WRITING ON THE SOCIAL BODY: DRESSES AND BODY ORNAMENTATION IN CONTEMPORARY CHICANA ART Laura E. Pérez Through body decoration, concepts of social order and disorder are depicted and legitimized, or speci¤c power and class structures con¤rmed or concealed. In all cultures body art also expresses the normal and the abnormal, stability and crisis, the sacred and the profane.
The Nanny, Yolanda López. Courtesy of the artist. Airlines, in a 1961 National Geographic magazine) to Mexico and for the wool industry (in a 1991 Vogue magazine). López chooses to contextualize her study of domestic labor, gender, cultural difference, and ethnicity in the visual language of actual media materials that stage the historical asymmetry of power relations between the so-called First and Third Worlds. The advertisements mediate this asymmetry through the discourse of tourism. The wool industry advertisement announces that “wool feels new” and implies that the newness of this experience is like exotic travel.
S. 5 2. Contrary to the free zone where all Euro-American taboos drop, the border is also a free zone of violence, a barrier to those trying to cross from the south—as evidenced by the Border Patrol, weekend vigilantism, bandits, and coyotes who after collecting their fees rob, rape, and denounce border crossers. 3. Even though the border is selectively open to those whose class positions con¤rm their tourist and student status, it forces a discourse of inferiorization on Mexicans and other Latinos, especially those whose class position, ethnicity, and skin color emerges from the campesina/o and urban proletariat groups.