CFP: Word Images: A Norma Elia Cantú Critical Reader

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Although ethnography is defined many times as “the study of the Other,” in Norma E. Cantú it becomes the study of the subjective self and the others who relationally define the self.

Author Norma E. Cantú’s writing describes a border culture not only because it speaks Spanish, is bilingual and bicultural, and is mostly located in Laredo and Nuevo Laredo, the U.S. and México, but also because it depicts a bicognitive reality. Sara García has pointed out that Cantú writes about “the border from within the border,” what Mary Louise Pratt calls “the contact zone.” In her work, Norma E. Cantú depicts the internal, moral, and linguistic borders that Chican@s cross continually throughout their lives in various and diverse manners.

With its mixture of writing and orality, past and present, all mediated by memory, Canícula: Snapshots of a Girlhood en la Frontera, Cantú’s first groundbreaking novel, could also be read as testimonial literature if defined by Margaret Randall as “the possibility to reconstruct the truth.”  We invite submissions on Norma E. Cantú’s oeuvre and vision, including but not limited to her criticism, folklore, theory, and literature, as well as her newspaper articles. We welcome academic papers about Canícula: Snapshots of a Girlhood en la Frontera and all other works authored by Norma Elia Cantú, including poetry, short stories, opinion pieces, etcetera.

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Catching up with Aurora Guerrero

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From your webjefa: I’ve been following the production and success of Aurora Guerrero’s Mosquita y Mari for  a while now. I was fortunate enough to meet Aurora back in the late 90s when she screened one of her first short films, Ixchel, for my class in Chicana Feminisms at Occidental College. It’s been a pleasure … Read more

Mujeres Talk: A Fotonovela on Predatory Lending

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During my undergraduate years at Arizona State University I worked on a diverse range of research projects for the South Phoenix Collaborative, studying current and historic risk factors such as migrant status, poor quality of neighborhood amenities, lack of access to affordable healthcare and healthy food, and erratic income. My commitment to South Mountain families led … Read more

Special issue: “Chicana/Latina Testimonios: Mapping the Methodological, Pedagogical, and Political

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Equity & Excellence in Education 45:3, 363-72 (2012)
Dolores Delgado Bernal, Rebeca Burciaga & Judith Flores Carmona,

While the genre of testimonio has deep roots in oral cultures and in Latin American human rights struggles, the publication and subsequent adoption of This Bridge called My Back (Moraga & Anzaldua, 1983) and more recently Telling to Live: Latina Feminist Testimonios (Latina Feminist group, 2001) by Chicanas and Latinas, have demonstrated the power of testimonio as a genre that exposes brutality, disrupts silencing, and builds solidarity among women of color (Anzaldua, 1990). Within the field of education, scholars are increasingly taking up testimonio as a pedagogical, methodological, and activist approach to social justice that transgresses traditional paradigms in academia. Unlike the more common training of researchers to produce unbiased knowledge, testimonio challenges objectivity by situating the individual in communion with a collective experience marked by marginalization, oppression, or resistance. These approaches have resulted in new understandings about how marginalized communities build solidarity and respond to and resist dominant culture, laws, and policies that perpetuate inequity. This special issue contributes to our understanding of testimonio as it relates to methdology, pedagogy, research, and reflection within a social justice education framework. A common thread among these articles is a sense of political urgency to address educational inequities within Chicana/o and Latina/o communities.

–from the introductory essay by Dolores Delgado Bernal, Rebeca Burciaga & Judith Flores Carmona

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Chicana por mi Raza fundraiser: Get VP to EP!

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We posted here earlier about the Chicana por mi Raza (CPMR) Archival Online Database project co-directed by Maria Cotera of University of Michigan, and Linda Garcia Merchant of Voces Primeras.  The project seeks to provide “broad-based public access to oral histories, material culture, correspondence, and rare out-of-print publications for use in both scholarly research and the … Read more

Mujeres Talk: My First MALCS Summer Institute

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                        Mujeres Activas. On July 18th I arrived in Santa Barbara and was in awe; the city is incredibly beautiful and the weather was perfect. As a Dominican woman, a self-identified Latina, and a Ph.D. student I was excited to be attending my first MALCS … Read more

Rest in peace, Chavela Vargas (Apr 17, 1919 – Aug 5, 2012)

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La voz áspera de la ternura, Chavela Vargas (via Lina Murillo)

From the Associated Press:

MEXICO CITY (AP) — Chavela Vargas, who defied gender stereotypes to become one of the most legendary singers in Mexico, died Sunday at age 93.  Her friend and biographer Maria Cortina said Vargas died at a hospital in the city of Cuernavaca, where she had been admitted for heart and respiratory problems.

Vargas rose to fame flouting the Roman Catholic country’s preconceptions of what it meant to be a female singer: singing lusty “ranchera” songs while wearing men’s clothes, carrying a pistol, drinking heavily and smoking cigars.

Though she refused to change the pronouns in love songs about women as some audiences expected, many of her versions of passionate Mexican folk songs are considered definitive.

Born in San Joaquin de Flores, Costa Rica, on April 17, 1919, Vargas immigrated to Mexico at age 14. She sang in the streets as a teenager, then ventured into a professional singing career well in her 30s.  “I was never afraid of anything because I never hurt anyone,” Vargas told the audience at a Mexico City tribute concert in June 2011. “I was always an old drunk.”

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