In the face of political correctness and the feminist movement, renowned stand-up comedian, scriptwriter and satirist Rick Najera dares to proclaim0́4tongue in cheek, of course0́4that machos are regular guys, too. In The Pain of the Macho, Najera has assembled an ensemble cast of quintessential Latin Lovers or wannabes who pour out their souls in side-splitting monologues. But the zing in the punch line hits us when we realize that melodramatic, teary-eyed spiels lead sly insights into the dilemma faced by not just Latino men but all those who must exist at the margins of two intersecting cultural spheres. The other two plays included in this wildly entertaining collection are "A Quiet Love" and "Latinologues."
One of the few books of its kind, Acting Up and Getting Down brings together seven African American literary voices that all have a connection to the Lone Star state. Covering Texas themes and universal ones, this collection showcases often-overlooked literary talents to bring to life inspiring facets of black theatre history. Capturing the intensity of racial violence in Texas, from the Battle of San Jacinto to a World War I–era riot at a Houston training ground, Celeste Bedford Walker’s Camp Logan and Ted Shine’s Ancestors provide fascinating narratives through the lens of history. Thomas Meloncon’s Johnny B. Goode and George Hawkins’s Br’er Rabbit explore the cultural legacies of blues music and folktales. Three unflinching dramas (Sterling Houston’s Driving Wheel, Eugene Lee’s Killingsworth, and Elizabeth Brown-Guillory’s When the Ancestors Call) examine homosexuality, a death in the family, and child abuse, bringing to light the private tensions of intersections between the individual and the community. Supplemented by a chronology of black literary milestones as well as a playwrights’ canon, Acting Up and Getting Down puts the spotlight on creative achievements that have for too long been excluded from Texas letters. The resulting anthology not only provides new insight into a regional experience but also completes the American story as told onstage.
A wave of revolution swept across the United States in the sixties and the seventies. And across California, Cesar Chavez sparked the Chicano civil rights movement in the barrio, giving prominence to new leaders, new voices, and new demands for freedom from injustice and oppression. For young Javier Gomez, this battle cry would be the beginning of a fight to stand up to injustice in his home of East LA. In Mr. Gs Battle Cry!, author and civil rights activist Javier Gomez chronicles his march into the streets of East LA and beyond as he and his Chicano and Chicana brothers and sisters take up the cause of the civil rights movement and create hope for a better futureagainst great odds. Gomez also explores the history of his people, showing how their culture and their spirit was renewed during this historic era of equality and justice. Javier Gomez was inspired by the Chicano civil rights movement, and today his battle cry endures. Mr. Gs Battle Cry! gives voice to the enlightened individuals who fought, side by side, at protests, and in the streets, against the institutions of injustice that sought to keep the people silent. And today, this cultural revolution has left a living legacy of change, progress, and hope.
Abalos (religious studies and sociology, Seton Hall U.) presents a critique of archetypal roles of Latino males including the womanizer, the macho, and the patriarch. As an alternative to these outdated and restrictive ways of living, Abalos describes how Latino males are able to radically redefine themselves and create new transformational archetypes. He goes on to discuss how Latino men can become agents of transformation in the family and the larger world. c. Book News Inc.
This text provides a comprehensive view of sport and exercise psychology with the latest research on grit, mindfulness, emotional intelligence, cultural diversity, substance abuse, exercise adherence, ethics, professional issues, and transitions in sport.
The cause of the number-one killer of apparently healthy infants between the ages of one week and one year—Sudden Infant Death Syndrome (SIDS)—continues to defy science. This cruel mystery intensifies an already painful experience for bereaved parents, who frequently blame themselves for their baby’s death. This book explores how parents grieve, the meanings and casual explanations they attribute to a SIDS death, the effects of their grief on family relationships, and the strategies they use to cope and carry on. Karen Martin’s grounded theory study describes in detail the experiences of mothers and fathers whose babies died of SIDS ranging from less than one to over twenty-five years after the baby’s death. Her work makes an important contribution to health fields and to the social science of medicine, and is a critical resource for family doctors, public health nurses, counsellors, ministers, and all those working with grieving parents.
This is Volume 79, Issue 4 2004 of 'Multicultural Perspectives' and this special issue celebrates NAME's 10th Anniversary. This includes a collection of works prior to the annual conference on November 15-19 in Orlando, Florida, were the members will be celebrating the 10th anniversary of the founding of NAME (National Association for Multicultural Education). This is issue includes information on the founding of the organisation, as well as articles on: the treatment of citizens by the law and courts on television and film; Bilingual/Bicultural family narratives to help training and in-service teacher; the needs of Tibetan children in U.S. public schools; multi-racial and multi-ethnic students; and an article on hope that human-kind can work to eradicate hatred and injustice in America.
In Contemporary Latina/o Theater, Jon D. Rossini explores the complex relationship between theater and the creation of ethnicity in an unprecedented examination of six Latina/o playwrights and their works: Miguel Piñero, Luis Valdez, Guillermo Reyes, Octavio Solis, José Rivera, and Cherríe Moraga. Rossini exposes how these writers use the genre as a tool to reveal and transform existing preconceptions about their culture. Through “wrighting”—the triplicate process of writing plays, righting misconceptions about ethnic identity, and creating an entirely new way of understanding Latina/o culture—these playwrights directly intervene in current conversations regarding ethnic identity, providing the tools for audiences to reexplore their previously held perspectives outside the theater. Examining these writers and their works in both cultural and historical contexts, Rossini reveals how playwrights use the liminal space of the stage—an area on the thresholds of both theory and reality—to “wright” new insights into Latina/o identity. They use the limits of the theater itself to offer practical explorations of issues that could otherwise be discussed only in highly theoretical terms. Rossini traces playwrights’ methods as they address some of the most challenging issues facing contemporary Latinas/os in America: from the struggles for ethnic solidarity and the dangers of a community based in fear, to stereotypes of Latino masculinity and the problematic fusion of ethnicity and politics. Rossini discusses the looming specter of the border in theater, both as a conceptual device and as a literal reality—a crucial subject for modern Latinas/os, given recent legislation and other actions. Throughout, the author draws intriguing comparisons to the cultural limbo in which many Latinas/os find themselves today. An indispensable volume for anyone interested in drama and ethnic studies, Contemporary Latina/o Theater underscores the power of theatricality in exploring and rethinking ethnicity. Rossini provides the most in-depth analysis of these plays to date, offering a groundbreaking look at the ability of playwrights to correct misconceptions and create fresh perspectives on diversity, culture, and identity in Latina/o America.
A collection of plays by the prolific Chicano playwright, including: Johnny Tenorio (1983), The Savior (1986), The Miser of Mexico (1989) and Pancho Diablo (1987). Morton is the winner of the National Latino Playwriting Contest (1986) and numerous other awards and grants.
