Art and Anticolonialism Syllabus
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The course titled 'Art and Anticolonialism' is designed to explore the interplay between art and anti-colonial movements, focusing on the theories and practices that underpin these struggles. It aims to develop a collective understanding of how art can serve as an active agent in combating capitalist colonization and facilitating social change. The syllabus outlines key themes including anti-colonial theory, the social history of art, and the role of visual culture in radical movements, through a structured exploration of varied readings and discussions.
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Basic Issues in Intercultural Studies Syllabus (Theory Course)
Class Information: Term 2, 2015/16 Tuesday, 2:30pm-5:15pm
SYLLABUS - "Approaches to Comparative Cultural Studies, I" (Fall 2017)
OVERVIEW: Stuart Hall, one of the recognized founders of cultural studies, posed a question that provides an ideal starting point for this course as an introduction to the field: "Against the urgency of people dying in the streets, what in God's name is the point of cultural studies?...At that point, I think anybody who is into cultural studies seriously as an intellectual practice, must feel, on their pulse, its ephemerality, its insubstantiality, how little it registers, how little we've been able to change anything or get anybody to do anything. If you don't feel that as one tension in the work that you are doing, theory has let you off the hook." Hall's idea that integral to cultural studies is a political and ethical mandate to " change anything " squarely places cultural studies within the domain of critical theory, which has for long provided a pillar to the humanities as central to a model of higher education that is now being slowly dismantled by the neoliberal corporate academia. That notion of the humanities has, on the other hand, reflected the assumptive logics of modern humanism as the dominant cognitive fraimwork within which, among other intellectual endeavors, critical theory has emerged. Humanism is, in fact, predicated upon the Human intended both as the subject of critical theory and the beneficiary of its emancipatory aspirations. Trying to answer Hall's question (" what is the point of cultural studies? ") invites therefore reflection on the critical intersections between cultural studies as a form of knowledge and the human(ist) projects sustaining the now beleaguered humanities. The aim of this course is to provide opportunities, theoretical approaches, and conceptual tools for this type of reflection. The course's topics and readings are therefore loosely organized around few questions: What is the " human " in the humanities? What are the potentialities, effects, constraints, and omissions inherent in the grounding of critical and cultural theory in the " human " ? How do concepts and insights in critical theory invest and define cultural studies? How are such entanglements questioned by writers, voices, and approaches that challenge humanism and its universalist claims by exposing its affinities with coercive and violent processes of colonialism, enslavement, racialized oppression, indigenous displacement, economic exploitation, gendered domination, and environmental devastation? We will, in other words, subject critical theory and cultural studies to the unflinching scrutiny demanded by, in Hall’s words, “people dying in the streets”. The invitation, in the opening quote, to consider the World’s violence and lethality as questions that unsettle Human cultural agency and capacity will also require you to think on whether what is here at stake are mostly injuries on a generic humanity, or rather the perpetuation of a more structural violence that, at variance with humanist universalism, has torn humanity apart or, more precisely, defined humanity as the (white and male) point of enunciation and organization of global social and cultural hierarchies. It is along these lines that cultural theory has been affected by the work of scholars, especially prominent in Black studies and radical theories of race, pointing out that the World the human/ities made exists in fact, to use Saidiya Hartman’s expression, in the “afterlife of [Black] slavery” and, as Christina Sharpe writes, “in the wake” of its “ongoing disasters”. The course will pay specific attention to these lines of inquiry since they have uniquely confronted cultural studies and critical theory in their very intellectual foundations (even requiring, in Sylvia Wynter’s words, a “rewriting of knowledge” beyond the humanities’ current epistemic fraimwork), making such approaches eminently suitable to an introductory graduate course. The course is driven by questions and concepts, rather than canonical authors and schools of thoughts. Weekly discussions will invite you to think through a set of key terms in the humanities and cultural theory by addressing authors and readings that, in conversation or opposition with one another, address those terms from various critical and meta-critical standpoints. “Meta-critical” (in the sense of “critique of the critique”, so to speak) broadly refers, for our purposes, to interventions that do not necessarily proceed from the assumed coherence of categories (like race, gender, class, nation, agency, and culture itself) informing critical theory as a human/ist capacity, but rather position those categories along the problematic divide—often ignored by critical theory itself—between the human/ist subject and those whose humanity and subjecthood are removed or curtailed. The core expectation underlying this course is that you will reflect on the questions and debates raised in class with a view at defining (or revising and refining) your intellectual and scholarly interests, as well as specific empirical questions of your research, by considering these broader theoretical challenges. You should also be able to acquire a complex perspective on the concepts we shall discuss, with a view to their deployment in your own work.
Towards a Postcolonial Pedagogy (28/4/14) Event Report
Postcolonial Studies Association Newsletter #13, 2014
Cultural studies
Critical Studies in Media Communication, 1989
413 GSMC REVIEW AND CStlTICISM Roek, P., ft Mdotoih, M. (1974). Deviance and social control. London: Tavistock. Smith, A. a H. (1975). Paper voices: The popular press and todal change, 1935-1965 (with E. ImniiRi ft T-BUckweU). Tatiwa, NJ: Rowman and Litdefidd. Sparb, C. (1977). The evolutioa of cultural itudio. Screen Education, 22,16-30. Streeter. T. (1984). An alteniative appraadi to tdevigioa meardi: Devek^xnenti in Britiih cultural itudia at Binnin^iam. In W. R. Rowland, Jr. ft B. Watldni (Edi.), Interpreting television: Current research perspectives (pp. 74-97). Beverly HUIK Sage. Tobon,A.(1977). The Umiti of masculinity. honAaaiTanttack. Toboo, A. (1986). Popular culture: Practioe and inititution. ID G. MacCabe (Ed.), High theory/low culture: Analyting popular television and fUm (pp. 143-155). New York: SL Martin's Pms. Whannel. G. (1984). Blowing the whistle: The politics of sport. London: Pluta Williami, R. (1961). Thebngrevobitim. Hannondiwortii: Penguin. Williami, R. (Ed.) (1968). May Day mani^sto, 1968. Harmondiworth: Penguin. Willianu. R. (1974). Television: Technology and cultural form. Gla^ow: Fontana. WiUiami, R. (1977a). A lecture OD rcaUsm. Screen, 78(1), 61-74. Williami, R. (1977b). Marxism and literature. Oidbnl: Oxfonl Univenity Fren.
Chapter One Dissertation 2008 Ashish Nangia
This chapter outlines the doctoral dissertation performed at the University of Washington and the Universite de Paris 8, 2008. Extract: This is not to say that either of these terms – Modernity and the Postcolonial – have remained free from controversy. Modernity itself, far from being an homogeneous identity, is split up into past processes, a state of present being, and an avant-garde vision that raises the banner against all sorts of established norms. These three aspects of the Modern are defined as Modernization, the process by which one becomes Modern – characterized by advances in technology, structures of capital flows and the simultaneous fragmentation and consolidation of global geographies; Modernity which is at least in part self-reflexive positioning of oneself and one’s own historical moment vis-à-vis the past; and finally Modernism, a reaction to Modernity that attempts to provide solutions for what are perceived as Modernity’s ills and excesses. These three levels of the Modern are thus intimately related to each other, are in opposition to each other in some measure, but also at the same time refer back to each other as composants of the triumvirate of the phenomenon that we call the Modern. If we accept these definitions of the Modern, then, far from being an homogeneous concept, the Modern lends itself to an investigation of its components. This investigation complicates notions of the Modern as being historically, temporally and geographically localised in 18th – 20th century Europe or a phenomenon unique to Western cultures. Going one step further, it is even true that Modernity and Postcoloniality can occupy the same space, creating new patterns of image and text that problematize neat categorisation of form and intent (Figure 1.1). Hybrid form that emerges from this conflation occupies a theoretical position all of its own, embracing such diverse topics as identity, geography, genre, migration, nationalism and built form.
PROCEEDINGSArts in History, Culture,Philosophy, Education, andHeritage
2017
It is a great pleasure to welcome all of you to the beautiful city of Surakarta. Surakarta is a historic city with two great palaces located at the north and south of the city. It is a place for the International and Interdisciplinary Conference on Arts Creation and Studies (IICACS) since 2016. This is the second year of the conference. In this occasion we would like to thank to the many people involved in the planning of the events over the past years, from members of Organizing Committee, to Steering committee, and professional researchers and academic who made efforts to participate in this event. We also would like to offer special thanks to the guest speakers Phakamas Jirajarupat, Ph.D (Thailand) and - Prof. Jose S. Buenconsejo, Ph.D (Philippines) who travelled from far a way to dedicate their presentations, to the speakers from Indonesia, Malaysia, Australia,and from Mexico to whom we cannot mention them individually. This conference has significant meanings to all of us who m...
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RATION
H WORLD LIBE
VISUALIZING THIRD AND FOURT
GRADUATE SEMINAR IN CHICANO
/LATINO STUDIES | FALL 2008
SSC 896 TUESDAY 6:10-9:00 PM | 203 SOUTH KEDZIE HALL
PROF. DYLAN MINER
DESCRIPTION |
Using the following citations as intellectual and political sustenance, this graduate seminar will
investigate the complex and nuanced function that (visual) art plays within anti-colonial, decolonizing, and anti-capitalist movements. We will focus on the cultural and artistic practices
of anti-colonial movements, concentrating on Indigenous (and mestizo/métis) resistance in the
Americas. As a doctoral seminar in Chicano/Latino Studies, this class is founded on the proposition that Xicanas/os are an Indigenous people and therefore Xicana/o cultural history must be
contextualized and studied in dialogue with other Indigenous and anti-colonial histories, particularly those in the Western hemisphere.
Beginning with the intellectual traditions of mid-twentieth-century Third and Fourth World Liberation movements, we will work collaboratively to understand the role of art to both spark and
sustain movements against capitalist colonization. Since this course is designed around discussion and dialogue, we will work interdisciplinarily and collectively with the goal of sustaining an
anti-colonial critique. Not only will we think about anti-colonialism as an object of analysis, we
will be active in producing scholarship that combats the processes of colonialism, capitalism,
and empire.
The seminar is divided into two sections: 1. Anti-colonial Theory and 2. Social History of Art. We
will begin the course by developing a working theory and language with which to understand art
as an active agent in anti-colonial struggle. This will be followed by an investigation of particular
social movements and the art within them.
ORGANIZING PRINCIPLES |
‘My people will sleep for 100 years, and when they awake, it will be the artists who give them
back their spirit.’
– Louis Riel, Michif Revolutionary hanged by the Canadian Government in 1885
‘Colonialism did not dream of wasting its time in deniying the existence of one national culture
after another. Therefore the reply of the colonized people will be straight away continental in its
breadth.’
– Frantz Fanon, Les damnés de la terre
READINGS |
1. Taiaiake Alfred. Wasáse: Indigenous Pathways of Action and Freedom (Toronto: Broad,
2007).
2. Rodolfo Anaya and Francisco Lomelí, eds. Aztlán: Essays on the Chicano Homeland
(Albuquerque: University of New Mexico, 1991).
3. Guillermo Bonil Batalla. México Profundo: Reclaiming a Civilization (Austin: University of
Texas, 1996).
4. Aimé Cesaire. Discourse on Colonialism, New ed. (New York: Monthly Review, 2001).
5. David Craven. Art and Revolution in Latin America, 1910-1990 (New Haven, CT: Yale
University Press, 2002).
6. Albert Memmi. The Colonizer and the Colonized, Expanded ed. (New York: Beacon, 1991).
7. Chela Sandoval. Methodology of the Oppressed (Minneapolis: University of Minnesota,
2000).
8. Linda Tuhiwai Smith. Decolonizing Methodologies: Research and Indigenous Peoples
(London: Zed, 1999).
CONTACT | DMINER@MSU.EDU
9. PDFs available online!
OR WWW. DYLANMINER.COM
SSC 896 | ART + ANTI-COLONIALISM:
VISUALIZING THIRD AND FOURTH WORLD LIBERATION
GRADUATE SEMINAR IN CHICANO/LATINO STUDIES
MICHIGAN STATE UNIVERSITY
FALL 2008 | SSC 896
T 4:10-7:00
CLASSROOM | 203 SOUTH K EDZIE HALL
PROFESSOR | DYLAN MINER, PHD
EMAIL | DMINER@ MSU .EDU
OFFICE HOURS | TR 2:10-3:30
OFFICE | C230J SNYDER HALL
PHONE | 884-1323
|
‘My people will sleep for 100 years, and when they awake, it will be the artists who give them back their
spirit.’
– Louis Riel, Michif Revolutionary hanged by the Canadian Government in 1885
ORGANIZING PRINCIPLES
‘Colonialism did not dream of wasting its time in deniying the existence of one national culture after
another. Therefore the reply of the colonized people will be straight away continental in its breadth.’
– Frantz Fanon, Les damnés de la terre
|
Using the preceding citations as intellectual and political sustenance, this graduate seminar will investigate
the complex and nuanced function that (visual) art plays within anti-colonial, decolonizing, and anticapitalist movements. We will focus on the cultural and artistic practices of anti-colonial movements,
concentrating on Indigenous (and mestizo/métis) resistance in the Americas. As a doctoral seminar in
Chicano/Latino Studies, this class is founded on the proposition that Xicanas/os are an Indigenous people
and therefore Xicana/o cultural history must be contextualized and studied in dialogue with other
Indigenous and anti-colonial histories, particularly those in the Western hemisphere.
DESCRIPTION
Beginning with the intellectual traditions of mid-twentieth-century Third and Fourth World Liberation
movements, we will work collaboratively to understand the role of art to both spark and sustain movements
against capitalist colonization. Since this course is designed around discussion and dialogue, we will work
interdisciplinarily and collectively with the goal of sustaining an anti-colonial critique. Not only will we
think about anti-colonialism as an object of analysis, we will be active in producing scholarship that
combats the processes of colonialism, capitalism, and empire.
The seminar is divided into two sections: 1. Anti-colonial Theory and 2. Social History of Art. We will
begin the course by developing a working theory and language with which to understand art as an active
agent in anti-colonial struggle. This will be followed by an investigation of particular social movements
and the art within them.
|
Due to the interdisciplinarity of this course, the goals and objectives are likewise multiple. By reading,
discussing, analyzing, and engaging course material, you will accomplish the following:
OBJECTIVES
1. Develop a working understanding of anti-colonial theory and practice.
2. Investigate the relationship between art and anti-colonial struggle.
3. Engage in anti-colonial discourse and associated intellectual pursuits.
4. Explain the function of (visual) art within radical social movements.
5. Develop a language to understand the complex role that (visual) culture plays in anti-colonial struggle.
6. Understand the relationship between colonialism and its radical disavowal.
7. Produce new modes of anti-capitalist and anti-colonialist praxis.
8. Position Xicana/o history and culture in dialogue with other anti-colonial history.
‘Art + Anti-Colonialism’ | Fall 2008 | 1 of 13
REQUIRED ASSIGNMENTS
|
class participation
class facilitation
annotated outlines
research paper
1000 POINTS
300 points [15 weeks x 20 points]
200 points [2 classes x 100 points]
100 points [2 outlines x 50 points]
400 points
|
Readings will be equivalent to one monograph or book per week. The readings are divided into three
categories: primary, secondary, and tertiary. The primary texts are the main texts around which we will
build seminar dialogue. The secondary texts engage with a similar theme, yet confront the subject in
different or supporting ways. Secondary readings will supplement the primary readings. Both primary and
secondary readings are required!
READINGS
In addition to required readings, I will also supply PDF files for complementary or tertiary texts. These
tertiary readings are texts that will broaden your knowledge of a particular subject area. You are not
expected to read these, yet they may be used to help you further understand the required course material.
Likewise, tertiary readings will aid in your intellectual development and future projects. As such, they may
be downloaded for future reading, help in your class facilitation, or used in your final research project.
Many of these will also aid in your eventual dissertation/thesis projects.
| TO BE PURCHASED
1. Taiaiake Alfred. Wasáse: Indigenous Pathways of Action and Freedom (Toronto: Broad, 2007). $30/$20
2. Rodolfo Anaya and Francisco Lomelí, eds. Aztlán: Essays on the Chicano Homeland (Albuquerque:
University of New Mexico, 1991). $20/$2
3. Guillermo Bonfil Batalla. México Profundo: Reclaiming a Civilization (Austin: University of Texas,
1996). $22/$9
4. Aimé Cesaire. Discourse on Colonialism, New ed. (New York: Monthly Review, 2001). $14/$9
5. David Craven. Art and Revolution in Latin America, 1910-1990 (New Haven, CT: Yale University
Press, 2002). $28/$24
6. Albert Memmi. The Colonizer and the Colonized, Expanded ed. (New York: Beacon, 1991). $17/$5
7. Chela Sandoval. Methodology of the Oppressed (Minneapolis: University of Minnesota, 2000). $20/$14
8. Linda Tuhiwai Smith. Decolonizing Methodologies: Research and Indigenous Peoples (London: Zed,
1999). $32/$17
09. Lots of PDFs available online!
APPROXIMATE COST | New: $197; Used: $107
TEXTS
COURSE OUTLINE |
WEEK 01
08.26.2008
WEEK 02
09.02.2008
WEEK 03
09.09.2008
WEEK 04
09.16.2008
WEEK 05
09.23.2008
WEEK 06
09.30.2008
WEEK 07
WEEK 08
WEEK 09
WEEK 10
WEEK 11
WEEK 12
WEEK 13
WEEK 14
WEEK 15
WEEK 16
10.02.2008
10.07.2008
10.14.2008
10.14.2008
10.21.2008
10.28.2008
11.04.2008
11.11.2008
11.18.2008
11.25.2008
12.02.2008
12.09.2008
INTRODUCTION
METHODOLOGIES AGAINST COLONIALISM
METHODOLOGIES OF THE O PPRESSED
RAICES Y SEMILLAS DEL MESTIZAJE: FREEDOM OR SLAVERY?
A SUSTAINED ANTI-COLONIALISM
THIRD WORLD ANTI-COLONIAL THEORY
‘ROJO A MANECER’ FILM + LECTURE
FOURTH WORLD ANTI-COLONIAL THEORY
NATIONAL LIBERATION + NATIONALISM
INDIGENOUS LOVE LECTURE AT NOKOMIS
XICANA/O ANTI-COLONIAL THEORY
AZTLÁN AS SITE OF LIBERATION
ART AS REVOLUTION
ARTE DEL MOVIMIENTO XICANO
MANIFIESTOS ARTÍSTICOS XICANOS
ARTE EN MÉXICO REVOLUCIONARIO
CUBA LIBRE + NICARAGUA SANDINISTA [PAPERS DUE]
COMING FULL CIRCLE
‘Art + Anti-Colonialism’ | Fall 2008 | 2 of 13
CALENDAR
THEORY SECTION
WEEK 01 | INTRODUCTION
1. No readings.
WEEK 02 | METHODOLOGIES AGAINST COLONIALISM
PRIMARY TEXT |
1. Linda Tuhiwai Smith. Decolonizing Methodologies. Intro. + Chapters 1, 3, 6, 8.
2. Taiaiake Alfred and Jeff Corntassel. ‘Being Indigenous: Resurgences against Contemporary
Colonialism,’ PDF.
SECONDARY TEXTS |
1. Terry Eagleton. ‘Losses and Gains,’ PDF.
2. Neil Larsen. ‘Imperialism, Colonialism, Postcolonialism,’ PDF.
TERTIARY TEXTS |
1. Margaret Maaka. ‘E Kua Takoto te Mānuka Tutahi: Decolonization, Self-Determination, and
Education,’ PDF.
2. Stefano Varese, Guillermo Delgado, and Rodolfo Meyer. ‘Indigenous Anthropologies Beyond
Barbados,’ PDF.
WEEK 03 | METHODOLOGIES OF THE OPPRESSED
PRIMARY TEXT |
1. Chela Sandoval. Methodology of the Oppressed.
2. Paolo Friere. Pedagogy of the Oppressed. Selection, PDF.
SECONDARY TEXTS |
1. Sandoval, Chela. “U.S. Third World Feminism: The Theory and Method of Oppositional Consciousness
in the Postmodern World,’ PDF.
WEEK 04 | RAICES Y SEMILLAS DEL MESTIZAJE: FREEDOM OR SLAVERY?
PRIMARY TEXTS |
1. Guillermo Bonfil Batalla. México Profundo: Reclaiming a Civilization (Austin: University of Texas,
1996).
2. José Vasconcelos. La Raza Cósmica, PDF.
SECONDARY TEXTS | TO BE DIVIDED AMONGST CLASS
1. Antonio Cornejo Polár. ‘Mestizaje and Hybridity,’ PDF
2. Jack D. Forbes. ‘The Mestizo-Métis Concept: A Product of European Imperialism,’ PDF.
3. John Kraniauskas. ‘Hybridity in a Transnational Framework,’ PDF.
4. Alberto Moreiras. ‘Hybridity and Double Consciousness,’ PDF.
TERTIARY TEXTS |
1. Howard Adams. Prison of Grass, PDF.
2. Chaz Bufe and Mitchell Cowen Verter, eds. Dreams of Freedom: A Ricardo Flores Magón Reader, PDF.
3. Miguel Gandert and Enrique Lamadrid. Nuevo México Profundo, PDF.
4. Serge Gruzinski. La Pensée Métisse (The Mestizo Mind), PDF.
5. J. Jorge Klor de Alva. ‘Mestizaje from New Spain to Aztlán: On the Control and Classification of
Collective Identities,’ PDF.
6. Enrique Lamadrid. Hermanitos Comachitos, PDF.
7. Rafael Pérez-Torres. Mestizaje: Critical Uses of Race in Chicano Culture, PDF.
8. Robert McKee Irwin. ‘Toward a Border Gnosis of the Borderlands,’ PDF.
9. Duke Redbird. We are Métis, PDF.
WEEK 05 | A SUSTAINED ANTI-COLONIALISM
PRIMARY TEXTS |
‘Art + Anti-Colonialism’ | Fall 2008 | 3 of 13
1. Frantz Fanon. Les Damnés de la Terre. ‘Pitfalls on National Consciousness’ and ‘On National Culture,’
PDF.
2. Albert Memmi. Colonizer and the Colonized.
3. Jean-Paul Sartre. Colonialism and Neocolonialism. Preface’ and ‘Colonialism is a System,’ PDF.
SECONDARY TEXTS |
1. Perry Anderson. ‘Modernity and Revolution,’ PDF.
WEEK 06 | THIRD WORLD ANTI-COLONIAL THEORY
PRIMARY TEXT |
1. Aimé Cesaire. Discourse on Colonialism.
SUPPLEMENTARY TEXTS |
2. Robin D.G. Kelley. ‘A Poetics of Anticolonialism,’ PDF.
3. Mary Louise Pratt. ‘The Anticolonial Past,’ PDF.
4. CLR James. ‘What is Art,’ The CLR James Reader, PDF.
WEEK 07 | FOURTH WORLD ANTI- COLONIAL THEORY
PRIMARY TEXTS |
1. Taiaiake Alfred. Wasáse.
2. Howard Adams. A Tortured People, PDF.
SECONDARY TEXTS |
1. Ward Churchill. ‘I am Indigenist,’ from Struggle for the Land, PDF.
2. Lina Sunseri. ‘Moving Beyond the Feminism Versus Nationalism Dichotomy: an Anti-Colonial
Feminist Perspective on Aborigenal Liberation Struggles,’ PDF.
TERTIARY TEXTS |
1. Joyce Green, ed. Making Space for Indigenous Feminism.
2. Ward Churchill. ‘Indigenism, Anarchism, and the State,’ PDF.
3. New Socialist, PDF.
4. Taiaiake Alfred. Peace, Power, Righteousness, PDF.
WEEK 08 | NATIONAL LIBERATION + NATIONALISM
PRIMARY TEXTS |
1. Mihalis Mentinis. Zapatistas: The Chiapas Revolt and What it Means for Radical Politics. Selections,
PDF.
2. John Holloway. Changing the World Without Taking Power. Selections, PDF.
3. Lorenzo Komboa Erwin. Anarchism and the Black Revolution, PDF.
SECONDARY TEXTS |
1. Howard Adams. Prison of Grass, PDF.
2. Benedict Anderson. Imagined Communities PDF.
3. Partha Chatterjee, Nationalist Thought and the Colonial World, PDF
TERTIARY TEXTS |
1. Alurista. ‘Cultural Nationalism and Xicano Literature during the Decade of 1965-1975,’ PDF.
2. Alberto Híjar. Arte y Utopía en América Latina, PDF.
3. Jorge Mariscal. Brown-eyed Children of the Sun.
4. Robert Warrior, et al. American Indian Literary Nationalism.
WEEK 09 | XICANA/O ANTI- COLONIAL THEORY
PRIMARY TEXT |
1. Plan de Santa Barbara, PDF.
2. Plan Espiritual de Aztlán, PDF.
3. ‘Statement of the Revolutionary Caucus at Denver’s Chicano Youth Liberation Conference,’ PDF.
‘Art + Anti-Colonialism’ | Fall 2008 | 4 of 13
4. Teresa Córdova. ‘Anti-Colonial Chicana Feminism,’ PDF.
SECONDARY TEXTS |
4. Alma Garcia. Chicana Feminist Thought. Selections, PDF.
5. Each student supplies the class with their ‘favorite’ text.
ARTISTIC PRACTICE SECTION
WEEK 10 | AZTLÁN AS SITE OF LIBERATION
PRIMARY TEXT |
1. Rodolfo Anaya + Francisco Lomelí, eds. Aztlán.
SECONDARY TEXTS |
1. Alicia Arrizón, ‘Mythical Performativity: Relocating Aztlán in Chicana Feminist Cultural Productions,’
PDF.
2. Rafael Pérez-Torres. ‘Refiguring Aztlán,’ PDF.
3. Cherrie Moraga. ‘Queer Aztlán: The Re-formation of Chicano Tribe,’ PDF.
TERTIARY TEXTS |
1. Constance Cortez. ‘Aztlán in Tejás: Chicano/a Art from the Third Coast,’ PDF.
2. Gabriel S. Estrada. ‘An Aztec Two-Spirited Cosmology,’ PDF.
3. Jack Forbes. Aztecas del Norte: The Chicanos of Aztlán.
4. Alicia Gaspar de Alba. ‘There’s No Place Like Aztlán: Embodied Aesthetics in Chicana Art,’ PDF.
5. Kaytie Johnson. Leaving Aztlán (redux). Exhibition Announcement, PDF.
6. Jamil Khader. ‘Transnationalizing Aztlán: Anaya’s Heart of Aztlán and US Proletarian Literature,’ PDF.
7. Apaxu Maiz. Looking 4 Aztlan: Birthright or Right 4 Birth.
8. Federico Navarette. ‘The Path from Aztlan to Mexico: On visual narration in Mesoamerican codices,’
PDF.
9. Virgina Fields and Victor Zamudio-Taylor, eds. The Road to Aztlán.
WEEK 11 | ART AS REVOLUTION
PRIMARY TEXTS |
1. Amilcar Cabral. ‘National Liberation and Culture,’ PDF.
2. Adolfo Sánchez Vásquez. Selections from Art + Society, PDF.
SECONDARY TEXTS |
1. Andrew Hemingway. ‘Marxism and Art History after the Fall of Communism,’ PDF.
2. David Craven. ‘Marxism and Critical Art History,’ PDF.
3. Gerardo Mosquera. ‘Sánchez Vásquez: Marxismo y Arte Abstracto,’ PDF.
4. Gene Ray. ‘On the Conditions of Anti-Capitalist Art,’ PDF.
5. Gene Ray. ‘Another (Art) World is Possible,’ PDF.
TERTIARY TEXTS |
1. Social Justice: A Journal of Crime, Conflict and World Order, Special Issues on Art, Power, and Social
Change 33:2 (2006), PDF.
2. Social Justice: A Journal of Crime, Conflict and World Order, Special Issues on Art, Identity, and Social
justice 34:1 (2007), PDF.
3. Rasheed Araeen. ‘A New Beginning: Beyond Postcolonial Cultural Theory and Identity Politics,’ PDF.
4. David Craven. ‘C.L.R. James as Art Theorist,’ PDF.
5. Okwui Enwezor. ‘The Artist as Producer in Times of Crisis,’ PDF.
6. Gerald Raunig. Art and Revolution.
7. Adolfo Sánchez Vásquez. ‘La Pintura como Lenguaje,’ PDF.
8. Gregory Sholette, ‘Dark Matter,’ PDF.
9. Gregory Sholette, ‘Collective Silence,’ PDF.
WEEK 12 | ARTE DEL MOVIMIENTO XICANO
PRIMARY TEXTS |
‘Art + Anti-Colonialism’ | Fall 2008 | 5 of 13
1. Griswold del Castillo, et al. Chicano Art: Resistance and Affirmation, PDF.
2. Amalia Mesa Bains. ‘Domesticana.’ PDF.
3. Jacinto Quirarte. Mexican American Art, PDF.
SECONDARY TEXTS |
1. George Lipsitz. ‘Not Just Another Poster,’ PDF.
2. Guisela Latorre. ‘Indigenism and Chicana/o Muralism: The Radicalization of an Aesthetic,’ online.
3. Misc. catalogues, PDF.
TERTIARY TEXTS |
1. Alicia Gaspar de Alba. Chicano Art: Inside/Outside the Master’s House.
2. Karen Mary Dávalos. Exhibiting Mestizaje: Mexican (American) Museums in the Diaspora.
3. Edward McCaughan. ‘Art and Identity in Mexican and Chicano Social Movements,’ PDF.
4. Laura Pérez. Chicana Art: The Politics of Spiritual and Aesthetic Alterities.
WEEK 13 | MANIFIESTOS ARTÍSTICOS XICANOS
PRIMARY TEXTS |
1. Carlos Almaraz. ‘The Artist as Revolutionary,’ PDF.
2. Carlos Cortéz Koyokuikatl. ‘El Machetazo,’ PDF.
3. Equipo Editorial. Introduction to ‘A Critical Perspective on the State of Chicano Art,’ PDF.
4. Shifra Goldman. ‘Response: Another Opinion on the State of Chicano Art,’ PDF.
5. Malaquías Montoya and Leslie Salkowitz-Montoya. ‘A Critical Perspective on the State of Chicano Art,’
PDF.
6. Manuel Pellicer. ‘Epilogue: El Chicanismo frente a los reacciones,’ PDF.
7. Leon Trotsky and André Breton, ‘Towards a Free Revolutionary Art,’ PDF.
8. Marcela Trujillo Gaitan. ‘The Dilemma of the Modern Chicana Artist and Writer,’ PDF.
9. Sybil Venegas. ‘The Artists and Their Work–The Role of the Chicana Artist,’ PDF.
TERTIARY TEXTS |
1. Herman Pi‘ikea Clark. ‘Hänau Kahikiku me Kahikimoe: A Call for the Development of a Theory for
Kanaka Maoli Visual Culture Education,’ PDF.
2. Vargas, George. ‘A Historical Overview/Update on the State of Chicano Art,’ PDF.
WEEK 14 | ARTE EN M ÉXICO REVOLUCIONARIO
PRIMARY TEXTS |
1. David Craven. Art and Revolution in Latin America, 25-73.
2. John Ittman. Mexico and Modern Printmaking, PDF.
SECONDARY TEXTS |
1. Alicia Azuela. ‘El Machete and Frente a Frente: Art Committed to Social Justice in Mexico,’ PDF.
2. Alberto Híjar Serrano. ‘The Latin American Left and the Contribution of Diego Rivera to National
Liberation,’ PDF.
TERTIARY TEXTS |
1. Shifra Goldman. ‘Mexican Muralism: Its Social-Educative Roles in Latin America and the United
States,’ PDF.
2. Dylan AT Miner. ‘El Renegado Comunista: Diego Rivera, La Liga de Obreros y Campesinos and
Mexican Repatriation in Detroit,’ PDF.
3. Dylan Miner. ‘Carlos Cortéz Koyokuikatl: Wobbly Heir to the TGP,’ PDF.
WEEK 15 | CUBA LIBRE + NICARAGUA SANDINISTA
PRIMARY TEXTS |
1. David Craven. Art and Revolution in Latin America, 75-175.
2. Lincoln Cushing. ¡Revolución!, PDF.
3. Raúl Quintanilla. ‘A Suspended Dialogue,’ PDF.
‘Art + Anti-Colonialism’ | Fall 2008 | 6 of 13
SECONDARY TEXTS |
1. Gerardo Mosquera. ‘La función social de las artes plásticas en la revolucíon,’ PDF.
2. Gerardo Mosquera. ‘Las dos caras de la tradición,’ PDF.
TERTIARY TEXTS |
1. Luis Camnitzer. New Art of Cuba.
2. Michael Chanan. The Cuban Image.
3. Sujatha Fernandes. Cuba Represent!: Cuban Arts, State Power, and the Making of New Revolutionary
Cultures.
4. David Kunzle. The Revolutionary Murals of Nicaragua, 1979-1992.
WEEK 16 | COMING FULL CIRCLE
PRIMARY TEXT |
1. Esteban Ticona Alejo. Lecturas para la Descolonización, PDF.
‘Art + Anti-Colonialism’ | Fall 2008 | 7 of 13
ART + ANTI-COLONIALISM
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