This catalog, the exhibit, "Made in Aztlán," and special events are an attempt to present and credit those individuals and groups that have helped move the Centro along. Four essays, written by Philip Brookman, Guillermo Gómez-Peña, omás Ybarra-Fraust and Shifra Goldman will also attempt to put in perspective these attitudes and developments over the course of time and the lay of the land--Mexico, the U.S., Aztlán and the rest of the world. -- Introduction.
Long before the Spanish colonizers established it in 1598, the “Kingdom of Nuevo México” had existed as an imaginary world—and not the one based on European medieval legend so often said to have driven the Spaniards’ ambitions in the New World. What the conquistadors sought in the 1500s, it seems, was what the native Mesoamerican Indians who took part in north-going conquest expeditions also sought: a return to the Aztecs’ mythic land of origin, Aztlan. Employing long-overlooked historical and anthropological evidence, Danna A. Levin Rojo reveals how ideas these natives held about their own past helped determine where Spanish explorers would go and what they would conquer in the northwest frontier of New Spain—present-day New Mexico and Arizona. Return to Aztlan thus remaps an extraordinary century during which, for the first time, Western minds were seduced by Native American historical memories. Levin Rojo recounts a transformation—of an abstract geographic space, the imaginary world of Aztlan, into a concrete sociopolitical place. Drawing on a wide variety of early maps, colonial chronicles, soldier reports, letters, and native codices, she charts the gradual redefinition of native and Spanish cultural identity—and shows that the Spanish saw in Nahua, or Aztec, civilization an equivalence to their own. A deviation in European colonial naming practices provides the first clue that a transformation of Aztlan from imaginary to concrete world was taking place: Nuevo México is the only place-name from the early colonial period in which Europeans combined the adjective “new” with an American Indian name. With this toponym, Spaniards referenced both Mexico-Tenochtitlan, the indigenous metropolis whose destruction made possible the birth of New Spain itself, and Aztlan, the ancient Mexicans’ place of origin. Levin Rojo collects additional clues as she systematically documents why and how Spaniards would take up native origin stories and make a return to Aztlan their own goal—and in doing so, overturns the traditional understanding of Nuevo México as a concept and as a territory. A book in the Latin American and Caribbean Arts and Culture initiative, supported by the Andrew W. Mellon Foundation
During the Chicano Movement in the 1960s and 1970s, the idea of Aztlán, homeland of the ancient Aztecs, served as a unifying force in an emerging cultural renaissance. Does the term remain useful? This expanded new edition of the classic 1989 collection of essays about Aztlán weighs its value. To encompass new developments in the discourse the editors have added six new essays.
The work of this important sculptor, spokesperson, and teacher is seen from a variety of cultural perspectives in this book, which draws upon the artist's entire oeuvre and places well-known works alongside unpublished drawings, paintings, sculptures, notebooks, and statements. Designed in a large format to complement Magu's bold use of color, the book includes essays addressing such topics as the concept of emplacement, gender and the imagery of lowriders, and Magu as a social artist. Exhibition: University Art Galleries, University of California, Irvine, USA (12.09.-16.12.2017).
Bridging the fields of Religion and Latina/o Studies, this book fills a gap by examining the “spiritual” rhetoric and practices of the Chicano movement. Bringing new theoretical life to biblical studies and Chicana/o writings from the 1960s, such as El Plan Espiritual de Aztlán and El Plan de Santa Barbara, Jacqueline M. Hidalgo boldly makes the case that peoples, for whom historical memories of displacement loom large, engage scriptures in order to make and contest homes. Movement literature drew upon and defied the scriptural legacies of Revelation, a Christian scriptural text that also carries a displaced homing dream. Through the slipperiness of utopian imaginations, these texts become places of belonging for those whose belonging has otherwise been questioned. Hidalgo’s elegant comparative study articulates as never before how Aztlán and the new Jerusalem’s imaginative power rest in their ambiguities, their ambivalence, and the significance that people ascribe to them.
This is a study of artist/activists and their participation in social movements in the 1960s, 70s, and 80s, in Mexico City, Oaxaca, and California. McCaughan places the three movements within their own local histories, cultures, and conditions, but also links them to the 1968 rebellions that were going on across the world.
One of the most famous leaders of the Chicano civil rights movement, Rodolfo "Corky" Gonzales was a multifaceted and charismatic, bigger-than-life hero who inspired his followers not only by taking direct political action but also by making eloquent speeches, writing incisive essays, and creating the kind of socially engaged poetry and drama that could be communicated easily through the barrios of Aztlán, populated by Chicanos in the United States. Gonzales is the author of I Am Joaquín , an epic poem of the Chicano movement that lives on in film, sound recording, and hundreds of anthologies. Gonzales and other Chicanos established the Crusade for Justice, a Denver-based civil rights organization, school, and community center, in 1966. The school, La Escuela Tlatelolco, lives on today almost four decades after its founding. In Message to Aztlán , Dr. Antonio Esquibel, Professor Emeritus of Metropolitan State College of Denver, has compiled the first collection of Gonzales diverse writings: the original I Am Joaquín (1976), along with a new Spanish translation, seven major speeches (1968-78); two plays, The Revolutionist and A Cross for Malcovio (1966-67); various poems written during the 1970s, and a selection of letters. These varied works demonstrate the evolution of Gonzales thought on human and civil rights. Any examination of the Chicano movement is incomplete without this volume. Eight pages of photographs accompany the text.
The Albuquerque barrio portrayed in this vivid novel of postwar New Mexico is a place where urban and rural, political and religious realities coexist, collide, and combine. The magic realism for which Anaya is well known combines with an emphatic portrayal of the plight of workers dispossessed of their heritage and struggling to survive in an alien culture.
"Creating Aztlâan interrogates the important role of Aztlâan in Chicano and Indigenous art and culture. Using the idea that lowriding is an Indigenous way of being, author Dylan A. T. Miner (Mâetis) discusses the multiple roles that Aztlâan has played atvarious moments in time, engaging pre-colonial indigeneities, alongside colonial, modern, and contemporary Xicano responses to colonization"--
