Lateinamerikaner

Alexis Valéds escribe con profunda ternura sobre el nñio que fue y logra reflejar en estasápginas no solo los ñaos áms duros de su vida, sino transportar al lector a la Cuba de su infancia y adolescencia, con sus problemas, sus carencias, su dolor, pero tambéin con una alegíra de vivir y la esperanza de que alúgn ída todo seár mejor. El pequñeo Alexis es un nñio sensible y ítmido, que vive con su madre, su hermano y su padrastro que le odia porque se parece mucho a su padre. El machista padrastro no soporta esa imagen dentro de la casa: La imagen del otro hombre de su mujer. El autor narra su vida en un pías donde el abuso y el bullying flota en el ambiente: En casa, donde soportaba las palizas del innombrable, porque se rehusa a escribir su nombre; en el barrio, donde otros padres golpean a sus hijos, los fuertes abusan de los édbiles y los homosexuales son masacrados, y en el pías donde el gobierno abusa de todos. Alexis y su familia viven en un barrio de La Habana donde los guapos --los tipos duros dela calle-- imponen su ley. Es un ambiente salvaje donde son comunes las peleas de boxeo clandestinas. Solo hay un hombre bueno al que todos temen en el barrio, fuerte como una roca, el padrastro de Renecito, el nñio estrella del barrio, y uno de los defensores denuestro protagonista. Los otros defensores que salvan al nñio son su abuela Aémrica, una viejita ámgica que leda esperanza y fuerza; su hermano asámtico y delgaducho, pero muy valiente, y su padre, que es un hombre deé xito, alegre y carñioso, pero al que no permiten ver a menudo. El escape del nñio es su suñeo de viajar a Praga, una ciudad llena de castillos y nñios con gorritos y las mejillas rosadas. Todo comienza cuando participa en un concurso de Radio Praga Internacional, que tiene una emisóin especial para Aémrica Latina. El nñio les manda una carta cada semana para participar en el concurso que, de ganarlo, le llevaíra ala hermosa ciudad Checa, y áms que eso, le sacaíra por un tiempo del infierno en que vive.

Kitchens are the heart of the home.In Maria Gutierrez's family, kitchens are where traditions are created and shared, the conversation and storytelling are lively, and tiny demonstrations of love are served daily. In Las Abuelas, she has penned a love letter to her mother and a tribute to the women on both sides of her family who instilled a deep appreciation for food and story that is passed down from generation to generation. "I was raised in a Mexican American cultural community, with influences from the Deep South on my mom's side," Gutierrez says. "Las Abuelas was written to explore the intersection of being raised by four grandmas of a mixed cultural lineage. In digging into my family's history, I found myself asking: What was shared and what was held back? What are the traditional meals passed down? What are the stories about who we are and where we came from? What lessons and recipes can I pass down to my daughters?"Through retellings of family lore and captivating glimpses into the kitchens of her formidable forebears, Gutierrez maps her female ancestors through their recipes. "This is how my family gives love to one another: through bread, empanadas, tamales, fried chicken, and lemon meringue pies," she observes. Generously, Gutierrez offers not only tantalizing descriptions of these beloved family dishes, but shares the recipes for them as well. In detail-rich prose and poetry, Gutierrez offers a feast that nourishes heart, soul and stomach, capturing her family's legacy of strong women and mouthwatering meals. Readers will come away feeling the fullness of love and hungry for a home-cooked meal.

This is a history of precious-metals extractivism as lived in Cerro de San Pedro, a small gold- and silver-mining district in Mexico. Chronicling Cerro de San Pedro’s operations from the time of the Spanish conquest to the present, Daviken Studnicki-Gizbert transcends standard narratives of boom and bust to envision a multicentury series of mining cycles, first operated under Spanish rule, then by North American industry, and today in the post-NAFTA world of transnational capitalism. The depletion of a mine did not mark the end of its life, it turns out.Evolving technology accelerated the flow of matter and energy moving through the extractive systems of exhausted mines and revived profitability over and over again in Mexico’s mining districts. Studnicki-Gizbert demonstrates how this serial reanimation of a non-renewable resource was catalyzed by capital and supported by state policy and ideology and how each new cycle imposed ever more harmful consequences on both laborers and natural ecologies. At the same time, however, miners and their communities pursued a contending vision—a moral ecology—that defended the healthy reproduction of life and land. This book’s breathtakingly long view brings important perspective to environmental justice conflicts around extraction in Latin America today.

Sonia Murray has devoted most of her adult life to the extraction and transcription of records pertaining to Belize (formerly British Honduras). In this, her fifth work of transcription, she has extensively researched the British National Archives at Kew, the Belize National Archives in Belize City, and the Belize City Registry as well as many other archives and private record collections.The scope of this work covers wills of the Mosquito Shore and Belize; original wills at the Belize National Archives; wills and estates at the Belize City Registry and at the Archives; private records that include wills, estates, deeds, and manumissions; magistrate's minutes such as court records, estates, and manumissions; extensive records and journal articles on ending the slave trade; shipping lists; the Abolition Act of 1833 and the records created from it; slave registers and sales 1823-1830; index to the 1834 registry of slaves; Belize slave compensation claims and awards; Belizeans in British censuses; the Honduras Land Titles Act; the lost 1861 census; baptisms at St John's parish, 1868-1880; notes on early families; index to the registry of wills 1760-1900, and a comprehensive index to persons mentioned in the records.In this work, Mrs. Murray has not only transcribed the source material, she has also added lengthy and erudite annotations that shed light on the events and persons who figure in the records. This work is especially valuable for everyone who holds a serious interest in Caribbean history and the genealogy of Belize.

From the rise of dictator Rafael Trujillo in the early 1930s through the twelve-year rule of his successor Joaquín Balaguer in the 1960s and 1970s, women are frequently absent or erased from public political narratives in the Dominican Republic. The Paradox of Paternalism shows how women proved themselves as skilled, networked, and non-threatening agents, becoming indispensable to a carefully orchestrated national and international reputation. They garnered concrete political gains like suffrage and paved the way for their continued engagement with the politics of the Dominican state through intense periods of authoritarianism and transition.In this volume, Elizabeth Manley explains how women activists from across the political spectrum engaged with the state by working within both authoritarian regimes and inter-American networks, founding modern Dominican feminism, and contributing to the rise of twentieth-century women's liberation movements in the Global South.

When Philippe-Richard Marius arrived in Port-au-Prince to begin fieldwork for this monograph, to him and to legions of people worldwide, Haiti was axiomatically the first Black Republic. Descendants of Africans did in fact create the Haitian nation-state on January 1, 1804, as the outcome of a slave uprising that defeated white supremacy in the French colony of Saint-Domingue. Haiti's Founding Founders, as colonial natives, were nonetheless to varying degrees Latinized subjects of the Atlantic. They envisioned freedom differently than the African-born former slaves, who sought to replicate African nonstate societies. Haiti's Founders indeed first defeated native Africans' armies before they defeated the French. Not surprisingly, problematic vestiges of colonialism carried over to the independent nation. Marius recasts the world-historical significance of the Saint-Domingue Revolution to investigate the twinned significance of color/race and class in the reproduction of privilege and inequality in contemporary Haiti. Through his ethnography, class emerges as the principal site of social organization among Haitians, notwithstanding the country's global prominence as a "Black Republic." It is class, and not color or race, that primarily produces distinctive Haitian socioeconomic formations. Marius interrogates Haitian Black nationalism without diminishing the colossal achievement of the enslaved people of Saint-Domingue in destroying slavery in the colony, then the Napoleonic army sent to restore it. Providing clarity on the uses of race, color, and nation in sociopolitical and economic organization in Haiti and other postcolonial bourgeois societies, Marius produces a provocative characterization of the Haitian nation-state that rejects the Black Republic paradigm.

This book is based on a mixed-method, longitudinal study of the transmission, production, and reception of Spanish- and Portuguese-language television in four global cities with expanding Latinx diasporic populations. The author tracks and analyzes the production practices of Spanish-language broadcasters, the highlights of news and cultural affairs coverage, changes in the shooting locations and sociocultural discourses of telenovelas (both imported from Latin America and domestically produced), the presence of SLTV in the national political sphere, and the modes of media access and opinions of over 400 viewers in Detroit, Los Angeles, Miami, and Madrid. The possibilities created by SLTV and PLTV for achieving a sense of enfranchisement are explored. Intended for a general, as well as academic reading audience.

This book studies the role of subterranean spaces in literary works about Mexico City. It analyzes how underground spaces such as the subway, the sewage system, tunnels, crypts, and the subsoil itself relate to the whole of the city in a body of works published after 1985, the year of the deadliest earthquake in the capital's history. The texts belong to the most important genres in urban literature (the novel, the short story, and the crónica) and demonstrate the crucial role played by the underground in contemporary imaginings of the megalopolis, as it condenses and confronts the tensions that run through them. This central idea is developed through four analytical chapters focusing on the political, ecological, historical, and aesthetic dimension of subterranean imaginaries.

Equaliberty in the Dutch Caribbean is a collection of essays that explores fundamental questions of equality and freedom on the non-sovereign islands of the Dutch Caribbean. Drawing on in-depth ethnographic research, historical and media analysis, the study of popular culture, and autoethnographic accounts, the various contributions challenge conventional assumptions about political non/sovereignty. While the book recognizes the existence of nationalist independence movements, it opens a critical space to look at other forms of political articulation, autonomy, liberty, and a good life. Focusing on all six different islands and through a multitude of voices and stories, the volume engages with the everyday projects, ordinary imaginaries, and dreams of equaliberty alongside the work of independistas and traditional social movements aiming for more or full self-determination. As such, it offers a rich and powerful telling of the various ways of being in and belonging to our contemporary postcolonial world.

This book studies the role of subterranean spaces in literary works about Mexico City. It analyzes how underground spaces such as the subway, the sewage system, tunnels, crypts, and the subsoil itself relate to the whole of the city in a body of works published after 1985, the year of the deadliest earthquake in the capital's history. The texts belong to the most important genres in urban literature (the novel, the short story, and the crónica) and demonstrate the crucial role played by the underground in contemporary imaginings of the megalopolis, as it condenses and confronts the tensions that run through them. This central idea is developed through four analytical chapters focusing on the political, ecological, historical, and aesthetic dimension of subterranean imaginaries.

For the first time ever, real estate mogul "Flipping NJ" Cesar Piña opens up about how he flipped the script from poverty and prison cells, into owning over one thousand properties in America. In this revealing story of the struggles and hardships he faced on the road to success, Cesar shares invaluable trade secrets and hard-earned advice from the bottom, to the top. Taking you behind the doors of a man who transformed his life, from dealing drugs, to now making multi-million-dollar deals. This no-holds-barred account of his mistakes and how he learned from them, is an inspiration to anyone who feels like they have been dealt the "no win" cards in life. Cesar's heart behind the hustle, will motivate you to make the most out of your challenges, and turn those "no win" cards into a winning deck.Cesar grew up in Washington Heights, NY in the 90s. The streets were a hot pot of drugs and delusion. After getting caught up in the illusion that fast money would provide the American Dream, Cesar awoke in a nightmare that left him behind bars with a with a new wife and baby on the way. After a chance meeting that changed the course of his life, Cesar took his street hustle to the corporate world, and went after The Real Dream - To make real money the right way!Today, Cesar has become one of the most sought out names in real estate, selling out arenas across America, teaching people how they too can achieve financial freedom.This book is your key, into that world.

Nos arrebataron a Selena Quintanilla muy, muy pronto. Fue la víctima de un asesinato sin sentido cuando tenía solamente 23 años. Denominada "La Madonna Mexicana" o "La Reina del Tejano", Selena sin duda es una de las más brillantes estrellas de los años 80 y 90. Su popularidad no deja de crecer, gracias a su gran voz y a su increíble dominio del escenario. Este dinámico libro explora sus orígenes humildes y su escalada al super estrellato.POPSUGAR - "Selena Quintanilla Is Being Featured in a New Comic Book, and We're ALL For It!"The "Female Force" imprint features prominent and influential authors, business executives, entertainers, journalists, politicians, and activists. The latest biography comic book joins TidalWave's ever-growing library of more than 200 comic book biographies. The biographical comic series has drawn a firestorm of media attention, including features on "The Today Show" CNN, MSNBC and FOX News, and in Time and People magazines.

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This book emphasizes the significance of affects, feelings and emotions in how we think about politics, gender and sexuality in Latin America. Considering the complex and even contradictory social processes that the region is experiencing today, many Latin American authors are turning to affect to find a key to understand our present situation, to revisit our history, and to imagine new possibilities for the future. This tendency has shown such a specificity and sometimes departure from northern productions that it compels us to focus more deeply on its own arguments, methods, and critical contributions. This volume features essays that explore the particularities of Latin American ways of thinking about affect and how they can shed new light into our understanding of, gender, sexuality and politics.

Improvising Sabor: Cuban Dance Music in New York begins in 1960s New York and examines in rich detail the playing styles and international influence of important figures in US Latin music. Such innovators as José Fajardo, Johnny Pacheco, George Castro, and Eddy Zervigón dazzled the Palladium ballroom and other Latin music venues in those crucible years. Author Sue Miller focuses on the Cuban flute style in light of its transformations in the US after the 1959 revolution and within the vibrant context of 1960s New York. While much about Latin jazz and salsa has been written, this book focuses on the relatively unexplored New York charangas that were performing during the chachachá and pachanga craze of the early sixties. Indeed, many accounts cut straight from the 1950s and the mambo to the bugalú's development in the late 1960s with little mention of the chachachá and pachanga's popularity in the mid-twentieth century. Improvising Sabor addresses not only this lost and ignored history, but contends with issues of race, class, and identity while evaluating differences in style between players from prerevolution Cuban charangas and those of 1960s New York. Through comprehensive explorations and transcriptions of numerous musical examples as well as interviews with and commentary from Latin musicians, Improvising Sabor highlights a specific sabor that is rooted in both Cuban dance music forms and the rich performance culture of Latin New York. The distinctive styles generated by these musicians sparked compelling points of departure and influence.

When one thinks of Spanish Colonial art in the Southwest it is usually of New Mexico and the famous Spanish Market of Santa Fe. But New Mexico isn't the only home of Spanish Colonial art and artists in the Southwest. Colorado also has an equally long tradition of these arts. In fact, the only reason we know less about them than those of New Mexico is because of a historical accident-a change of borders. Up until 1861, when the Colorado Territory was established, what is now southern Colorado up to the Arkansas River was actually the New Mexico Territory, and its arts and artists were one and the same. And yet, owing to this change of borders, the Spanish Colonial arts and artists of the modern state of Colorado have not received the same attention as those of New Mexico. To remedy this situation, artist and scholar, Netanel Miles-Yépez, set out to document the life and work of Colorado based santera ('saint-maker'), Teresa May Duran, a native Coloradan who has continued the traditional Spanish Colonial art of retablo making as practiced in the old New Mexico Territory, questioning her about her personal history and training, as well as her methods and subjects. In this work, we are a given a rare glimpse into the motivations and actual techniques of a traditional Spanish Colonial retablo maker of the American Southwest.

Connecting four centuries of political, social, and religious history with fieldwork and language documentation, A Transatlantic History of Haitian Vodou analyzes Haitian Vodou's African origins, transmission to Saint-Domingue, and promulgation through song in contemporary Haiti. Split into two sections, the African chapters focus on history, economics, and culture in Dahomey, Allada, and Hueda while scrutinizing the role of Europeans in fomenting tensions. The political, military, and slave trading histories of the kingdoms in the Bight of Benin reveal the circumstances of enslavement, including the geographies, ethnicities, languages, and cultures of enslavers and enslaved. The study of the spirits, rituals, structure, and music of the region's religions sheds light on important sources for Haitian Vodou. Having royal, public, and private expressions, Vodun spirit-based traditions served as cultural systems that supported or contested power and enslavement. At once suppliers and victims of the European slave trade, the people of Dahomey, Allada, and Hueda deeply shaped the emergence of Haiti's creolized culture. The Haitian chapters focus on Vodou's Rada Rite (from Allada) and Gede Rite (from Abomey) through the songs of Rasin Figuier's Vodou Lakay and Rasin Bwa Kayiman's Guede, legendary rasin compact discs released on Jean Altidor's Miami label, Mass Konpa Records. All the Vodou songs on the discs are analyzed with a method dubbed "Vodou hermeneutics" that harnesses history, religious studies, linguistics, literary criticism, and ethnomusicology in order to advance a scholarly approach to Vodou songs.

Crossing distinct literatures, histories, and politics, Giving Form to an Asian and Latinx America reveals the intertwined story of contemporary Asian Americans and Latinxs through a shared literary aesthetic. Their transfictional literature creates expansive imagined worlds in which distinct stories coexist, offering artistic shape to their linked political and economic struggles. Long Le-Khac explores the work of writers such as Sandra Cisneros, Karen Tei Yamashita, Junot Díaz, and Aimee Phan. He shows how their fictions capture the uneven economic opportunities of the post-civil rights era, the Cold War as it exploded across Asia and Latin America, and the Asian and Latin American labor flows powering global capitalism today. Read together, Asian American and Latinx literatures convey astonishing diversity and untapped possibilities for coalition within the United States' fastest-growing immigrant and minority communities; to understand the changing shape of these communities we must see how they have formed in relation to each other. As the U.S. population approaches a minority-majority threshold, we urgently need methods that can look across the divisions and unequal positions of the racial system. Giving Form to an Asian and Latinx America leads the way with a vision for the future built on panethnic and cross-racial solidarity.

La Raza, launched in 1967 in the basement of an Eastside LA church, was conceived as a tool for community-based organizing during the early days of the Chicano movement. The all-volunteer staff of the newspaper-and the magazine that followed-informed readers and exhorted them to action through images and articles that showcased protests and demonstrations and documented pervasive social inequity and police abuse. La Raza's photographers played a critical role as artists, journalists, and activists, creating an unparalleled record of the determination, resilience, and achievements of the Chicano community during a period of profound social change.This catalog presents photographs from the La Raza exhibition at the Autry Museum of the American West and the more than 25,000 images in the La Raza Photograph Collection at the UCLA Chicano Studies Research Center. The essays offer not only scholarly assessments of the role of Chicanx photographers in social movements and art history but also personal perspectives from La Raza photographers.

Heavy makeup, gaudy jewelry, dramatic hairstyles, and clothes that are considered cheap, fake, too short, too tight, or too masculine: working-class Black and Latina girls and women are often framed as embodying "excessive" styles that are presumed to indicate sexual deviance. In Aesthetics of Excess Jillian Hernandez examines how middle-class discourses of aesthetic value racialize the bodies of women and girls of color. At the same time, their style can be a source of cultural capital when appropriated by the contemporary art scene. Drawing on her community arts work with Black and Latina girls in Miami, Hernandez analyzes the art and self-image of these girls alongside works produced by contemporary artists and pop musicians such as Wangechi Mutu, Kara Walker, and Nicki Minaj. Through these relational readings, Hernandez shows how notions of high and low culture are complicated when women and girls of color engage in cultural production and how they challenge the policing of their bodies and sexualities through artistic authorship.

As the general population of Latinxs in the United States burgeons, so does the population of college-going Latinx students. With more Latinxs entering college, the number of Hispanic Serving Institutions (HSIs), which are not-for-profit, degree granting postsecondary institutions that enroll at least 25% Latinxs, also grows, with 523 institutions now meeting the enrollment threshold to become HSIs. But as they increase in number, the question remains: What does it mean to serve Latinx students?This edited book, Hispanic Serving Institutions (HSIs) in Practice: Defining "Servingness" at HSIs, fills an important gap in the literature. It features the stories of faculty, staff, and administrators who are defining "servingness" in practice at HSIs. Servingness is conceptualized as the ability of HSIs to enroll and educate Latinx students through a culturally enhancing approach that centers Latinx ways of knowing and being, with the goal of providing transformative experiences that lead to both academic and non-academic outcomes. In this book, practitioners tell their stories of success in defining servingness at HSIs. Specifically, they provide empirical and practical evidence of the results and outcomes of federally funded HSI grants, including those funded by Department of Education Title III and V grants.This edited book is ideal for higher education practitioners and scholars searching for best practices for HSIs in the United States. Administrators at HSIs, including presidents, provosts, deans, and boards of trustees, will find the book useful as they seek out ways to effectively serve Latinx and other minoritized students. Faculty who teach in higher education graduate programs can use the book to highlight practitioner engaged scholarship. Legislators and policy advocates, who fight for funding and support for HSIs at the federal level, can use the book to inform and shape a research-based Latinx educational policy agenda.The book is essential as it provides a framework that simplifies the complex phenomenon known as servingness. As HSIs become more significant in the U.S. higher education landscape, books that provide empirically based, practical examples of servingness are necessary.

As the general population of Latinxs in the United States burgeons, so does the population of college-going Latinx students. With more Latinxs entering college, the number of Hispanic Serving Institutions (HSIs), which are not-for-profit, degree granting postsecondary institutions that enroll at least 25% Latinxs, also grows, with 523 institutions now meeting the enrollment threshold to become HSIs. But as they increase in number, the question remains: What does it mean to serve Latinx students?This edited book, Hispanic Serving Institutions (HSIs) in Practice: Defining "Servingness" at HSIs, fills an important gap in the literature. It features the stories of faculty, staff, and administrators who are defining "servingness" in practice at HSIs. Servingness is conceptualized as the ability of HSIs to enroll and educate Latinx students through a culturally enhancing approach that centers Latinx ways of knowing and being, with the goal of providing transformative experiences that lead to both academic and non-academic outcomes. In this book, practitioners tell their stories of success in defining servingness at HSIs. Specifically, they provide empirical and practical evidence of the results and outcomes of federally funded HSI grants, including those funded by Department of Education Title III and V grants.This edited book is ideal for higher education practitioners and scholars searching for best practices for HSIs in the United States. Administrators at HSIs, including presidents, provosts, deans, and boards of trustees, will find the book useful as they seek out ways to effectively serve Latinx and other minoritized students. Faculty who teach in higher education graduate programs can use the book to highlight practitioner engaged scholarship. Legislators and policy advocates, who fight for funding and support for HSIs at the federal level, can use the book to inform and shape a research-based Latinx educational policy agenda.The book is essential as it provides a framework that simplifies the complex phenomenon known as servingness. As HSIs become more significant in the U.S. higher education landscape, books that provide empirically based, practical examples of servingness are necessary.

This volume explores the character of the domestic worker in twenty-first century Latin American cinema and analyzes how recent filmic representations of the housemaid question the marginalization of domestic servants, in particular women, by making them the center of their narratives, their families, and society. The essays in this book posit the female domestic worker as an emergent subjectivity, a complex character who problematizes and contests the hierarchical power structures within the family dynamics and new socioeconomic orders found in contemporary Latin America.Readers will find a variety of representations across the continent as well as transnational commonalities of the cinematic figure and role of the housemaid, including the negotiation of a multilayered politics of affection in the framework of prevalent paternalism, and the complex and contradictory dynamic between private and public spaces, where domestic paid labor occupies a central role in maintaining gender, class, and ethnic inequalities.