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 communicate to the intersections of "local," "hemispheric," and "globalized" energy kinfolk of the border imaginary. moment, it recovers the Mexican women's and Chicana literary and cultural heritages which have been missed via Euro-American canons and patriarchal exclusionary practices. It additionally expands the box in postnationalist instructions by means of developing an interethnic, comparative, and transnational discussion among Chicana and Chicano, African American, Mexican feminist, and U.S. local American cultural vocabularies. participants comprise 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 los angeles 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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Extra resources for Decolonial Voices: Chicana and Chicano Cultural Studies in the 21st Century
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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. —Elizabeth Reichel-Dolmatoff, “Foreword” to Body Decoration WHETHER THEY attempt to appear natural within a given culture or to create a spectacle of difference within it, as Dick Hebdige described the politics of subcultural styles (1987 [1979]: 102), clothing1 and body decoration signal the nature of membership within a given culture, whether it be normal, privileged, marginal, in opposition, or ambiguous.
9 Also, there is a continuing increase in the sophistication of methods of surveillance, weaponry, capture, and detainment in the Chicana/o com- Millennial Anxieties 17 munities by such state and federal agencies as the Immigration and Naturalization Service and state and county police and sheriffs. 10 I ask these unsettling questions: What does it mean for me to write as a Chicano in the cusp of the new millennium, 508 years after the fullscale invasion of the Américas—the usurpation of lands, the wholesale rape and slaughter of indigenous peoples, the forced importation and brutal enslavement of African peoples, and the institutionalized criminalization and marginalization of the Chicana/o community, etc.?
Examines unquestioned cultural stereotypes about both dominant and “minority” cultures and thus works toward the denaturalization of racialized relations between women and, between peoples of “First World” and “Third World” origins. T H E S E A M S O F T H E G H O S T LY : E S T E R H E R N Á N D E Z ’ S I M M I G R A N T WOM A N ’ S DR E S S “I often wonder what I would take with me if I had to pick up my life and carry it with me—to be scattered like a seed in the wind,” Ester Hernández wrote in an artist’s statement accompanying her Immigrant Woman’s Dress installation (¤g.