"La Siguanaba, es un personaje místico, que nuestros antepasados le dieron vida, ¿de cómo nació? Es una incognita, pero no se sabe si este personaje fue real, ficticio o inventado, porque todas las historias tienen un principio en una experiencia personal ... Se han contado infinidad de experiencias de personas que han tenido un encuentro con la Siguanaba, pero de estos encuentros muchos se enfermaron, otros se volvieron locos y fueron internados en hospital y también otris que murieron, por el impacto que recibieron en ese encuentro, y en su loca carrera cayeron en algún barranco on en suenfermedad les trajo consecuencias secundarias"--Jacket.
La Siguanaba has been described as a ghostly, grotesque looking woman. But her true nature is of utmost beauty inside and outside. In the Natuatl language, Sihuehuet means beautiful woman. La Siguanaba is the modern day Mary Magdalene.
The rationale stated for studying radical women of Latin America is first to throw light on the development of dictatorship and authoritarianism, second to transcend the stereotype of inherently violent men and inherently peaceful women, and finally to demonstrate that there is no automatic sisterhood among women even of the same class and ethnicity. Brief chronologies of three countries each in Central and South America open the two sections. The contributors are historians and political scientists primarily from the US. Annotation copyrighted by Book News Inc., Portland, OR
Latino folklore comprises a kaleidoscope of cultural traditions. This compelling three-volume work showcases its richness, complexity, and beauty. Latino folklore is a fun and fascinating subject to many Americans, regardless of ethnicity. Interest in—and celebration of—Latin traditions such as Día de los Muertos in the United States is becoming more common outside of Latino populations. Celebrating Latino Folklore: An Encyclopedia of Cultural Traditions provides a broad and comprehensive collection of descriptive information regarding all the genres of Latino folklore in the United States, covering the traditions of Americans who trace their ancestry to Mexico, Spain, or Latin America. The encyclopedia surveys all manner of topics and subject matter related to Latino folklore, covering the oral traditions and cultural heritage of Latin Americans from riddles and dance to food and clothing. It covers the folklore of 21 Latin American countries as these traditions have been transmitted to the United States, documenting how cultures interweave to enrich each other and create a unique tapestry within the melting pot of the United States.
Deep within an enchanted forest, in the heart of the mystical village of Cantunite, a world where ancient folklore and modern reality intertwine comes to life. At the epicenter of this vibrant tapestry is Doña Consue, an old sage woman whose profound connection to the gods and the land's mysteries is unparalleled. Explore the unique folklore with “Whispers Of Cantunite.” Encounter La Siguanaba, a grotesque spirit who appears to those who are unfaithful; El Cipitio, a child with backward feet who likes to play tricks and with the ability to teleport; the Screechy Wagon, a haunted ghost wagon on a mission to terrify those who are gossipers and liars; and the Cadejos, fearsome dog-like creatures of dual nature, appearing as both benevolent and malevolent dogs. These captivating characters are not just introduced but brought to life through a vivid and immersive storytelling style. As the people of Cantunite navigate the delicate balance between the seen, and the unseen, they find solace and inspiration in Doña Consue's wisdom and guidance. It's a journey you will want to take advantage of.
Weaving together narrative essay and bilingual poetry, Claudia D. Hernández’s lyrical debut follows her tumultuous adolescence as she crisscrosses the American continent: a book "both timely and aesthetically exciting in its hybridity" (The Millions). Seven-year-old Claudia wakes up one day to find her mother gone, having left for the United States to flee domestic abuse and pursue economic prosperity. Claudia and her two older sisters are taken in by their great aunt and their grandmother, their father no longer in the picture. Three years later, her mother returns for her daughters, and the family begins the month-long journey to El Norte. But in Los Angeles, Claudia has trouble assimilating: she doesn’t speak English, and her Spanish sticks out as “weird” in their primarily Mexican neighborhood. When her family returns to Guatemala years later, she is startled to find she no longer belongs there either. A harrowing story told with the candid innocence of childhood, Hernández’s memoir depicts a complex self-portrait of the struggle and resilience inherent to immigration today.
Bringing together international perspectives on the figure of the “monster” in performance, this edited collection builds on discussions in the fields of posthumanism, bioethics, and performance studies. The collection aims to redefine “monstrosity” to describe the cultural processes by which certain identities or bodies are configured to be threateningly deviant, whether by race, gender, sexuality, nationality, immigration status, or physical or psychological extraordinariness. The book explores themes of race, white supremacy, and migration with the aim of investigating how the figure of the monster has been used to explore representations of race and identity. To these, we add discussions on gender, queer identities, and how the figure of the “monster” has been used to explore the gendered body to finally understand how monstrosity intersects with contemporary issues of technology and the natural world. Navigating the fields of disability studies, performance-centered monster studies, and representation in performance, editors Michael M. Chemers and Analola Santana have brought together perspectives on the figure of the “monster” from across a variety of fields that intersect with performance studies. This book is essential reading for Theatre and Performance students of all levels as well as scholars. It will also be an enlightening text for those interested in monstrosity and Cultural Studies more broadly.
Lilith The Forgotten Goddess The traditional story of creation holds a mystery that has been perpetuated for centuries. Was Eve really Adam's first wife? Many cultures around the world say not. According to these traditions, before Eve, God created another woman, one who refused to take on a subordinate role to the man represented by Adam. Lilith, rejecting submission, fled Eden and was later demonized by the patriarchal cultures that developed. However, Lilith has evolved from a figure associated with evil in ancient traditions to become a contemporary symbol of emancipated femininity. Through a detailed analysis of historical texts, mystical traditions and modern reinterpretations, this book explores the complexities of Lilith and her lasting influence on discussions of gender, power and autonomy. The narrative reveals how Lilith transcended her origins to become an icon of resistance and a reflection of cultural and social struggles for equality. Over the centuries, the figure of Lilith has been a controversial and multifaceted symbol, representing both a feared threat and a force for female empowerment. This book traces Lilith's evolution from her roots in Mesopotamian and Jewish traditions, where she was seen as an evil spirit, to her modern re-signification as an icon of emancipatory femininity. The work explores how Lilith, initially demonized for her refusal to submit to male authority, has been reconfigured over time, especially in mystical and esoteric contexts, as a figure of power and resistance. By analyzing her various representations, the book highlights Lilith's relevance in contemporary discussions about gender, power and autonomy, offering a comprehensive view of how ancient myths can influence and reflect modern struggles for equality. This narrative not only sheds light on Lilith's past, but also places her at the center of current debates on identity and freedom.
To expand the possibilities of “doing arts thinking” from a non-Eurocentric view, Artistic Mentoring as a Decolonizing Methodology: An Evolving Collaborative Painting Ethnography with Maya Artists Pedro Rafael González Chavajay and Paula Nicho Cúmez is grounded in Indigenous perspectives on arts practice, arts research, and art education. Mentored in painting for eighteen years by two Guatemalan Maya artists, Kryssi Staikidis, a North American painter and art education professor, uses both Indigenous and decolonizing methodologies, which involve respectful collaboration, and continuously reexamines her positions as student, artist, and ethnographer searching to redefine and transform the roles of the artist as mentor, historian/activist, ethnographer, and teacher. The primary purpose of the book is to illuminate the Maya artists as mentors, the collaborative and holistic processes underlying their painting, and the teaching and insights from their studios. These include Imagined Realism, a process excluding rendering from observation, and the fusion of pedagogy and curriculum into a holistic paradigm of decentralized teaching, negotiated curriculum, personal and cultural narrative as thematic content, and the surrounding visual culture and community as text. The Maya artist as cultural historian creates paintings as platforms of protest and vehicles of cultural transmission, for example, genocide witnessed in paintings as historical evidence. The mentored artist as ethnographer cedes the traditional ethnographic authority of the colonizing stance to the Indigenous expert as partner and mentor, and under this mentorship analyzes its possibilities as decolonizing arts-based qualitative inquiry. For the teacher, Maya world views broaden and integrate arts practice and arts research, inaugurating possibilities to transform arts education.
