Wednesday, January 16, 2013

California State Poet Laureate Juan Felipe Herrera to Visit Redlands, CA Jan. 20





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The California State Poet Laureate is coming to the Contemporary Club in Redlands, CA on Jan. 20, and he is seeking poems. Juan Felipe Herrera is author of 28 books and currently serves as the Tomas Rivera Endowed Chair for the Department of Creative Writing at UC Riverside. He was appointed Poet Laureate for the state of California in March 2012.

When Herrera comes to Redlands he plans to discuss his signature Poet Laureate project, "The Most Incredible & Biggest Poem on Unity in the World," according to announcements from A.K. Smiley Public Library and the Inlandia Institute, the nonprofit literary center in Riverside.
Herrera will also be collecting contributions of poetry from the public, the key element of "The Most Incredible & Biggest Poem," library and institute officials said.
To assist his collection efforts, Herrera launched a Facebook page in September 2012 dedicated to compiling fragments of contributed poetry, officials said. "The tagline reads, 'Put your Unity into Action - write a poem for unity - or a phrase or a line. All languages, bilingual too - to create One collective poem for all to see.' Along with contributions that have come through other channels, Herrera is at work creating what he hopes will be the largest community-based poetry project on the subject of unity that has ever been attempted," library and institute officials said.

Herrera's latest request is for contributions of poetry paying tribute to victims of the Dec. 14 shootings at Sandy Hook Elementary School in Newtown, Conn. He started this recent effort with his poem, "Little Ones We Carry You," and dozens more poems have been contributed by others since its launch, officials said.
Herrera is a former professor and chair of Chicano and Latin American Studies at California State University, Fresno, from 1990 to 2004 and a teaching assistant fellow at the Iowa Writer's Workshop at the University of Iowa from 1988 to 1990. His work has received critical acclaim including national and international awards, library and institute officials said.
"The mission of the California Poet Laureate is to advocate for the art of poetry in classrooms and boardrooms across the state, to inspire an emerging generation of literary artists, and to educate all Californians about the many poets and authors who have influenced our great state through creative literary expression," officials said.
The Inlandia Institute publishes regional writing in print and electronic form, including books published in partnership with Heyday under the Inlandia imprint, the annual Inlandia creative writing anthology, Writing from Inlandia, and the online literary journal, Inlandia: A Literary Journey, according to the institute.
The institute also provides creative literacy programs for children, as well as creative writing workshops for teens and adults in Riverside, Idyllwild, Ontario and Palm Springs.
Anyone can contribute to the "The Most Incredible & Biggest Poem on Unity in the World," including people who attend the event in Redlands. Contributions can also be emailed to juan.herrera@ucr.edu or mailed to:
The Redlands event is planned at 1 p.m. Jan. 20 at the Contemporary Club, 173 S. Eureka St., Redlands, CA, adjacent to the A.K. Smiley Public Library.
Light refreshments will be served. For more information, call Cati Porter at (951) 218-4464 or Smiley Library at (909) 798-7565.
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Friday, January 11, 2013

Bachelor’s Degree Near For UNM Chicano Program



More than 40 years since the University of New Mexico began its Chicana and Chicano Studies program, students may finally be able to get a bachelor’s degree in it.
A regents committee on academic and student affairs approved the new major Wednesday, the second-to-last hurdle for the program. The full board of regents still must approve the degree.
The committee also approved two new Chicana and Chicano Studies certificate programs. One is a 15-hour online certificate in trans-national Latino studies that focuses on the U.S./Mexico border. The other is a program in New Mexican Cultural Landscapes that looks at the landscape and culture of the state.
Chicana and Chicano Studies focuses on cultural, political and social justice within Chicana/Chicano communities. The curriculum includes courses on gender and sexuality, race and ethnicity, arts and culture, political mobilization, immigration, history and heritage.
Currently, students in the program can obtain only a minor, or 24 hours worth of curriculum. A bachelor’s degree would require 36.
Instituting the new major would not require additional resources such as new faculty, associate professor LM García y Griego said. Still, he said the program likely will grow in the next few years, and the department is already working on a hiring plan.
“We’ve had significant increase in enrollment just in a couple of years,” García y Griego said. About 500 students are enrolled.
The new degree so far has wide support.
“The Faculty Senate passed this resolution, and I am wholeheartedly behind it,” President Amy Neel said. The New Mexico Land Grant Council, a state agency, passed a resolution in support of the degree last spring, and the Provost’s Office also is on board.
“The proposal is well thought out and timely, and we are excited about the possibility of creating this degree program at UNM,” Associate Provost for Curriculum Greg Heileman wrote in a letter.
— This article appeared on page C1 of the Albuquerque Journal

Wednesday, December 12, 2012

Former Chicana Activist Shares Her Favorite Tunes

Courtesy of National Public Radio

Rosie Castro was a Chicana civil rights activist in El Movimiento Chicano during the 1970s. She passed down her passion for change to her children, Texas State Representative Joaquin Castro and San Antonio Mayor Julian Castro. For Tell Me More's 'In Your Ear' series, Castro talks about her favorite songs.


Sunday, December 02, 2012

New Stanford Mural Celebrates Latino Identities



[Click image to enlarge]

By Robin Wander

The Spiral Word: El Codex Estánfor, a four-part mural at El Centro Chicano, marks artist Juana Alicia's return to campus


Earlier this month, Stanford inaugurated its newest campus mural, The Spiral Word: El Codex Estánfor, at El Centro Chicano, the university’s Chicano/Latino student center. The mural was designed and created by Berkeley-based international muralist Juana Alicia, who was on hand for the ceremony.
The event celebrated the moment when the four-part mural left the artist's hands and was entrusted to the current and future generations of Stanford students, faculty and staff.
Juana Alicia's friend and poet Rafael Jesus González burned sage and blessed the seven directions of the Mayan tradition (the cardinal points, earth, sky and center) and then read his moving poem, Flor y Canto. He also shared poignant words about education and social responsibility with those assembled.
Student Cesar Torres, graphic designer of the mural guide produced for the occasion, offered his reflections on the work and senior Aracely Mondragón read three powerful poems inspired by the mural. The artist discussed her process along with the subtext, symbolism and deeper meanings of her work.
El Centro Director Frances Morales observed that since the installation last spring, the mural has inspired creative expression within the Stanford community, as evidenced by the poems and reflection written and shared by Torres and Mondragón (both from the class of 2012) during the inauguration. In addition, Morales said that some faculty members have begun to think of ways to incorporate a viewing and study of the mural into their classes.
Imagery inspired by literature
The mural depicts the legacy of Latin American and indigenous literature. The concept for the suite of four murals for El Centro was inspired by the history and literature of multi-ethnic Latin America, from the ancient stories of the Popol Vuh to modern Chicana/o poetry. California Poet Laureate and Stanford alumnus Juan Felipe Herrera named the work.
Juana Alicia was inspired by a wide range of literary sources including José Martí, Sandra Cisneros, Carlos Fuentes and Junot Díaz, "but more than any other author, Eduardo Galeano." She said his books, The Open Veins of Latin America, and the trilogy Memories of Fire, function as a subtext for the set of four paintings, most especially the codex.
"Each of the four painted surfaces [three canvases and one watercolor paper panel] has its own role to play in the story and in the space. This is one of the smallest, most compact and narrative-dense works that I have created. The challenge was to create a series of works that altered an institutional-feeling entryway into a sanctuary for our collective narratives as multi-faceted Latinos and original peoples of these continents. I wanted to create a space for students to find beauty and honor for their identities as Latin Americans at Stanford, and to create a place that both narrated our legacies and celebrated our cultural projects," she wrote.
"I also wanted the mural to create feelings of safety and pride and stimulate historical consciousness with regard to our evolution as a people."
An artist returns to campus
Juana Alicia is a familiar face on campus by now. She first came to work at Stanford in 1984, at the invitation of Jose Antonio Burciaga, and taught a class titled Mural Art: Enfoque Feminil. Students worked with Juana Alicia to research, design and paint the mural Mujeres de Fuego that frames the entrance to the Chicano/Latino theme dorm Casa Zapata. "Daniel Luna, Valentín Aguirre and Maria De La Rosa, now alumni, were some of the outstanding students that I remember still. The theme of the piece was an homage to the 'real women' of our culture as Chicanos," she recalls.
Mujeres de Fuego includes farmworkers, artists and revolutionaries rising from the flames of a burning Black Velvet Vodka billboard picturing a clichéd, busty odalisque, visible on many liquor ads in the barrios of California in the 1980s.
After the Casa Zapata mural project, she returned to campus to teach in the Yo Puedo Program for Latino high school students. In addition to teaching art, she has guest-lectured sporadically over the years in the Department of Spanish and Portuguese at the invitation of Yvonne Yarbro-Bejarano, professor of Iberian and Latin American cultures.
In 2006, Stanford approached Juana Alicia about creating a mural for El Centro Chicano.
The Spiral Word is the most recent of many iterations of Juana Alicia's relationship with Stanford’s Latino community and the culmination of more than five years of imagining, proposing, researching, negotiating and painting. The mural is the fulfillment of a vision to give a lasting work of her own original creation to the space that she credits with nurturing promising young artists, intellectuals and activists.
Stanford art Professor Enrique Chagoya praised the artist as a longstanding muralist in San Francisco and a role model for Chicano muralists. “She has murals all over the Mission District and one at the San Francisco International Airport among other places. I am glad she has some work at Stanford,” he said.
“The inauguration ceremony in November was not an end to the mural project, rather, it was an opportunity to hand over the murals to the community. It is a passing from my hands to theirs – a rite of passage,” said Juana Alicia.
--Stanford News Service
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Tuesday, November 06, 2012

Election Day Memories

 Photo by Ann Marie Leimer, Ph,D. Click photo to enlarge. 

By Jesús Manuel Mena Garza

It is election day. How exciting. I started voting when I was a child in San José, California. My mother could not read or write and would let me fill out her ballot. Since the beginning, in the early sixties, I supported progressive candidates and causes. In 1970 when I turned 18, I continued to vote for candidates who vowed to end the war in Viet Nam. 

Today, to me, Barack Obama is the culmination of many years of struggle. I could never let down the thousands of marchers in Selma, Delano and across the country who made his ascendency possible. On Election Day, now at the ripe-old age of 60, in the very-red state of Texas, I look forward to supporting a man I truly believe in, President Obama.

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Sunday, November 04, 2012

Zetas Cartel Occupies Mexico State of Coahuila


By Tracy Wilkinson for LA Times

Few outside Coahuila state noticed. Headlines were rare. But steadily, inexorably, Mexico's third-largest state slipped under the control of its deadliest drug cartel, the Zetas.

The aggressively expanding Zetas took advantage of three things in this state right across the border from Texas: rampant political corruption, an intimidated and silent public, and, if new statements by the former governor are to be believed, a complicit and profiting segment of the business elite. It took scarcely three years.

What happened to Coahuila has been replicated in several Mexican states — not just the violent ones that get the most attention, but others that have more quietly succumbed to cartel domination. Their tragedies cast Mexico's security situation and democratic strength in a much darker light than is usually acknowledged by government officials who have been waging a war against the drug gangs for six years.

"We are a people under siege, and it is a region-wide problem," said Raul Vera, the Roman Catholic bishop of Coahuila. A violence once limited to a small corner of the state has now spread in ways few imagined, he said.

What sets the Zetas apart from other cartels, in addition to a gruesome brutality designed to terrorize, is their determination to dominate territory by controlling all aspects of local criminal businesses.

Not content to simply smuggle drugs through a region, the Zetas move in, confront every local crime boss in charge of contraband, pirated CDs, prostitution, street drug sales and after-hour clubs, and announce that they are taking over. The locals have to comply or risk death.

And so it was in Coahuila. One common threat from Zeta extortionists, according to Saltillo businessmen: a thousand pesos, or three fingers.

With the Zetas meeting little resistance, wheels greased by a corrupt local government, there was little violence. But the people of Coahuila found themselves under the yoke of a vicious cartel nonetheless.

"It was as if it all fell from the sky to the Earth," said Eduardo Calderon, a psychologist who works with migrants, many of whom have been killed in the conflict. "We all knew it was happening, but it was as if it happened in silence."

The "silence" ended in rapid-fire succession in a few weeks' time starting mid-September. Coahuila saw one of the biggest mass prison breaks in history, staged by Zetas to free Zetas; the killing of the son of one of the country's most prominent political families (a police chief is the top suspect); and, on Oct. 7, the apparent slaying of the Zetas' top leader by federal troops who say they stumbled upon him as he watched a baseball game.

"Apparent" because armed commandos brazenly stole the body from local authorities within hours of the shooting. The military insists that the dead man was Heriberto Lazcano, Mexico's most feared fugitive, acknowledging that he had been living comfortably and freely in Coahuila for some time.

"He was like Pedro in his house," former Gov. Humberto Moreira said, using an expression that means he was totally at home and could go anywhere.

The Zetas had such confident dominion over the state that Lazcano, alias the Executioner, and the other top Zeta leader, Miguel Angel Trevino, regularly used a vast Coahuila game reserve to hunt zebras they imported from Africa.

Since their formation in the late 1990s and early 2000s as a paramilitary bodyguard for the then-dominant Gulf cartel, the Zetas operated primarily in Tamaulipas state on Mexico's northeastern shoulder and down the coast of Veracruz and into Guatemala.

For most of that time, Coahuila, rich in coal mines and with a booming auto industry, was used by cartels as little more than a transit route for drugs across the border. The Zetas maintained a presence limited to Torreon, the southwestern Coahuila city that served as a bulwark against the powerful Sinaloa cartel that reigned in neighboring Durango state.

In 2010, the Zetas broke away from the Gulf cartel, triggering a war that bloodied much of Tamaulipas and spilled over into neighboring states. Coahuila, with its rugged mountains and sparsely populated tracts, became a refuge for the Zetas, and they spread out across the state, including this heretofore calm capital, Saltillo.

Even if the violence hasn't been as ghastly as in other parts of Mexico, nearly 300 people, many of them professionals, have vanished in Coahuila, probably kidnapped by the Zetas for ransom or for their skills.

The man in charge of Coahuila during most of the Zeta takeover was Moreira, the former governor. After five years in office, he left the position a year ahead of schedule, in early 2011, to assume the national leadership of the Institutional Revolutionary Party on the eve of its triumphant return to presidential power after more than a decade.

But scandal followed Moreira, including a debt of more than $3 million he had saddled Coahuila with, allegedly from fraudulent loans. He was eventually forced to quit the PRI leadership, dashing what many thought to be his presidential aspirations.

Tragedy followed when Moreira's son Jose Eduardo was shot twice in the head execution-style in the Coahuila town of Acuna early last month. Investigators believe that most of the Acuna police department turned Jose Eduardo over to the Zetas as a reprisal for the killing of a nephew of Trevino. The police chief was arrested.

Killing the son of a former governor — and nephew of the current one, Humberto's brother Ruben — was a rare strike by drug traffickers into the heart of Mexico's political elite.

In mourning, Humberto Moreira gave a series of remarkably candid interviews in which he accused entrepreneurs from Coahuila's mining sector of sharing the wealth with top drug traffickers who in turn used the money to buy weapons and pay off their troops. They killed his son, he said.

Mining in Coahuila is huge and notoriously dangerous, with companies routinely flouting safety regulations and workers dying in explosions and accidents. The depth to which drug traffickers have penetrated the industry is being investigated by federal authorities.

The question on the minds of many Mexicans was: If Moreira was so aware of criminal penetration, why didn't he stop it?

Critics suggest that during his tenure, he was happy to turn a blind eye to the growth of the Zetas as long as he could pursue his business and political interests. He denies that now and says fighting organized crime was up to the federal government; the federal government blames state officials, in Coahuila and elsewhere, for coddling the drug lords.

"The northern governors have long cut deals with the cartels that operate in their domains. The pattern in the north is cooperation," said George W. Grayson, a Mexico scholar at the College of William & Mary in Williamsburg, Va., who has written extensively on the Zetas and Mexican issues.

"The Coahuila police are among the most corrupt in all Mexico."

The extent to which the Zetas' tentacles had penetrated state government became clear this year when federal authorities discovered a protection racket that dated well into

Humberto Moreira's administration and was led by none other than the brother of the state attorney general. According to the federal investigation, he and 10 other state officials were being paid roughly $60,000 a month by the Zetas to leak information to the gang.

The nearly 3 million residents of Coahuila, meanwhile, find ways to survive and accommodate.

In rural areas where the Zetas are most commonly seen on the streets, people have learned to be mute and blind. In cities such as Saltillo, they change their habits, don't go out at night, send their children to school in other cities.

A businessman whose family has lived here for generations said, "We are in a state of war, without realizing when or how we got there."

wilkinson@latimes.com

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Wednesday, October 31, 2012

Chicana Literature, Creative Arts Scholar Named Tomás Rivera Chair


[Click photo to enlarge]
By  for UCR Today

Theater professor Tiffany Ana López , the granddaughter of migrant farmworkers, fills chair honoring UC Riverside’s fourth chancellor
Fleeing an abusive home and on her own at age 15, Tiffany Ana López planned a career as a Burger King franchise owner. The life of a scholar was unimaginable. But a series of mentors — high school teachers, community college instructors and a Latina poet at Cal State Sacramento — encouraged her to dream big.
López, now a professor of theater at the University of California, Riverside, has been named the Tomás Rivera Chair in the College of Humanities, Arts and Social Sciences. She becomes the second scholar to hold the prestigious endowed chair at UC Riverside, succeeding Juan Felipe Herrera, who has held the position since 2005. Gov. Jerry Brown named Herrera the California Poet Laureate in March, a two-year appointment that will take the Latino poet into classrooms and community centers throughout the state.
“I am incredibly proud to be honored in this way,” said López, a longtime admirer of Rivera for his creativity as a poet and author, his scholarship and his administrative leadership. “When you’re an endowed chair you’re a living memorial. Like Tomás Rivera I feel duty-bound to serve the public by emphasizing that students finish their degrees and have a sense about what they want to do to change the world when they leave the university. Our students represent passion, hope and the future.”
Rivera was UC Riverside’s fourth chancellor, serving from 1979 until his death after a heart attack in 1984. Rivera was the first Hispanic and first minority chancellor in the UC system. The endowed chair, funded by Rivera’s family and other donors, provides financial support for teaching and research to a senior faculty member. The chair-holder also coordinates the annual Tomás Rivera Conference.
In announcing the appointment of López, Stephen Cullenberg, dean of the College of Humanities, Arts and Social Sciences, said, “Tomás Rivera was a world-class poet, author, scholar and administrator. Tiffany Lopez’s record of creativity, scholarship and administration make her a perfect fit for the Tomás Rivera endowed chair. She brings passion, sensitivity and deep knowledge to every project she engages. We are looking forward to the many new and exciting projects she will develop while she holds the Tomás Rivera chair.”
López joined the UCR English department in 1995 as the university’s first specialist in Chicana/o literature. She currently is a professor in the Department of Theatre. Her research focuses on issues of trauma and violence and the ways that theater, literature and art provide avenues for personal healing, community building and social change.
“I left home to escape horrific domestic violence and the violence of poverty,” she explained. “I try to help students develop a vocabulary to talk about issues that impact all of us. That empowers them to be more present with their work and their goals, and enables them to be better students and understand their own histories.”
The granddaughter of migrant farmworkers and the first in her family to attend college, Lopez describes herself as “an accidental academic.”
A Burger King restaurant manager at age 16, the future she envisioned entailed earning an A.A. degree so she could become a franchisee. Three instructors at Cosumnes River College in Sacramento encouraged her to transfer to California State University, Sacramento to earn her bachelor’s degree instead.
She enrolled in a program for students who showed promise and were at-risk, and found a mentor in the English department, Chicana poet Olivia Castellano.
“She created employment for me and transitioned my frame of reference to an institution of higher learning,” Lopez said. “She involved me in a program tutoring families of migrant farmworkers in English composition. She was a poet who trained me to become a professor of literature and to understand the transformative nature of education, and instilled in me the need to understand what it means to be an artist.”
After completing her bachelor’s degree at CSU Sacramento, Lopez spent a year participating in creative writing workshops with foundational Chicano literary figures such as Sandra Cisneros, Ana Castillo and Rudolfo Anaya. She went on to earn a master’s degree and a Ph.D. at UC Santa Barbara, where she edited  an anthology, “Growing Up Chicana/o” (William Morrow & Co., 1993), which Publishers Weekly praised as 20 stories that “affirm the potency of Chicano literature.”
Since then, López has edited Chicana/Latina Studies: The Journal of Mujeres Activas en Letras y Cambio Social (2005-2012) and has published numerous essays, articles, chapters and reviews in books and journals, including Aztlan: A Journal of Chicano Studies, “Prose and Cons: Essays on Prison Literature in the United States,” “Ethnic Literary Traditions in American Children’s Literature” and “The Blackwell Companion to Twentieth-Century American Drama.” She is completing a book project, “The Alchemy of Blood,” about art as a form of engaging with issues of trauma and violence, and collaborating on a biography with visual artist Barbara Carrasco.
She was a Fulbright Scholar to Spain in 2004 and has received grants from the Ford Foundation and Rockefeller Foundation for her work on intellectual diversity and the creative arts. As a community artist, López has collaborated with theaters such as The Mark Taper Forum, The Latino Theater Company, and Breath of Fire Latina Theater Ensemble; and is an ensemble member of Company of Angels. She is a faculty advisory board member for the Barbara and Art Culver Center of the Arts and a member of a Mellon working group on medical narratives. She is a member of Campus Women Lead and the National Advisory Board of Mujeres Activas en Letras y Cambio Social.
At UCR she has participated in the College of Humanities, Arts and Social Sciences First Year Experience Program and the Mentoring Summer Research Internship Program. She was recognized for her work with students by a Chancellor’s Award for Excellence in Mentoring Undergraduate Research in 2009.
López said she has spent her career trying to pass on to her students what she gained from her education and how to live a life of vision and promise.
“I see myself in my students,” she said. “I understand what they are searching for in terms of a mentor and a language to better navigate not only their work at the university but also their lives. It’s not just about getting them through the subject matter or a degree. It’s what Tomás Rivera talked about in ‘And the Earth Did Not Devour Him’ — the seed of love in the darkness. At UCR we are sowing seeds.”
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Saturday, October 13, 2012

Poet Lorna Dee Cervantes needs a home to live and work!

In her own words...

In the Fall of 2007 I resigned from my 19 year tenured position at CU Boulder as Associate Professor of English in order to return to San Francisco following the death of my father, the artist Luis Cervantes, in on order to help out with the family community arts business, Precita Eyes Muralists Center in The Mission District and found the Mission Poetry Center near where I was born and my father lived. I had divorced and we planned to sell our house. Go this website to help

Then the economy tanked, hitting California higher education hard. Jobs for me at UC Berkeley and Santa Cruz were affected by the hiring freeze and I was soon laid off from my adjunct teaching job at SFSU in Ethnic Studies.

I resigned from my position in order to cash in what I could of my retirement to buy a prefab house on a mobile home lot in Pacifica. It seemed like the ideal retirement/housing solution and the only affordable option for myself and my adolescent son in the Bay Area. In a case yet to be litigated, I lost the house to the lot owners and their lawyer who were pressuring me to sell to them and forcibly evicted during the school year.

I am now essentially homeless, but staying with a good friend in a tiny 1 bedroom in Berkeley while storing my stuff in 3 locations not including Boulder where my son, now 18 lives and attends high school without me. I need just enough cash to tide me over until next Fall when I'm sure I'll be teaching again at my level. (I don't use or have credit cards.) I need first and last month's rent plus deposit and moving expenses as I don't drive which makes it much harder and more expense for me without a place and spread out across the Bay. Any donation you can spare at this time will be noted and repaid in some way or another when I am able.

I really need a place to work and most importantly to organize my files: a home. It has been difficult to work and apply for teaching jobs or even keep up my reading schedule and I have lost jobs reading my poetry as I've been without internet access or phone service in order to return contracts and forms; even my calendar and agenda book is locked up in a storage unit I haven't had access to yet.

So any help you can give will be much appreciated in this dire time. I feel place-poor but poetry-rich, and as soon as I can set up my printers and scanners and computers I can share some of my many writing and other projects with you. For over a dozen years I was a publisher/editor/printer of an independent press, MANGO Publications and published the first work of many of the Chicana/o, Latina/o and other writers of color and "experience" such as Sandra Cisneros, Alberto Rios, Jimmy Santiago Baca, James Brown, Ray Gonzalez, Ana Castillo, Luis Urrea, Sherman Alexie and others: all with the clause "All rights revert back to author upon publication."

Please help pass this page around and email this url to friends of yours and mine who may be able to help. I know many people teach and have taught my work. The sooner I have a place to work again, the sooner I'll have work to sell. I have a new book of poetry due from Wings Press next Spring, SUEÑO: 30-Something Of The Cruelest and I've been finishing a young adult book set in The Mission as well as my novel and two screenplays. I also have several other poetry manuscripts and non-fiction projects.

If you know me, you know I'm private and proud, and I don't ask for favors or money. Now I am asking. Maybe you or someone you know has a sublet or housesit situation in San Francisco, Berkeley, San Jose, preferably for a year or more; that would help a lot! I'm counting every nickle to pay my phone and storage.

Sincerely,

Lorna Dee Cervantes

Poet, Professor, Philosopher, Publisher, Editor, Printer

http://www.pleasefund.com/pages/5743

Tuesday, October 02, 2012

DSLR Camera and Lens Combo Mambo

I am in the process of deciding what new DSLR and lens combo to buy. There are so many choices out there. What do you recommend for street, landscape and travel photography? What camera and lens combo  makes sense to you?





Monday, September 17, 2012

Friends of the National Museum of the American Latino call on congress to join bipartisan effort to pass Smithsonian American Latino Museum Act


FRIENDS update community and national leaders during 35th Annual CHCI Policy Conference

Last Wednesday, the Friends of the American Latino Museum (FRIENDS), a 501(c)(3) created to push forward the American Latino Museum initiative, hosted its annual reception in conjunction with the Congressional Hispanic Caucus Institute’s (CHCI) 2012 Public Policy Conference. With sponsorship from CHCI, FRIENDS gathered Board members, Congressional leaders, administration officials, policy makers, and museum supporters to discuss the museum’s legislative progress and FRIENDS community engagement efforts.

Legislation to designate a location for the museum on the National Mall, the Smithsonian American Latino Museum Act, is still pending in Congress, yet grassroots support has remained strong and continues to build steadily. Through a combined effort of social media and direct community engagement, FRIENDS have amassed a base of over 300,000 fans, followers, and supporters of the cause. In addition, the FRIENDS have amassed a bipartisan list of over 50 members of the House and Senate who support the museum initiative. That list will continue to be a focus for the remainder of the year with the goal of hitting 100 members of Congress.

FRIENDS used the event to call Washington’s political leaders to action. Passing the Smithsonian American Latino Museum Act would designate space along the National Mall to the project and create a landmark to the culture and contributions of the Latino community to the founding and strengthening of our nation.

“This event is another exciting milestone in the journey toward an American Latino Museum,” said Jonathan Yorba, chair of FRIENDS. “We call on members of the House and Senate to support the museum legislation, and we call on all Americans who support this project to join our effort on our website or social networks. An historic achievement like this one does not come quickly or easily, but through the hard work of our supporters, this museum is closer than ever to becoming a reality.”

Eduardo Diaz the Director of the Smithsonian Latino Center stands next to photographer Jesus Manuel Mena Garza.
The reception featured the historic photographs of Jesus Manuel Mena Garza, The Chicano Photographer is known for documenting movements and leaders like Cesar Chavez and Corky Gonzales that empowered the Latino community over the last few decades. Garza made remarks during the reception noting that despite being approached by other cultural institutions, he is “holding out for a National American Latino Museum to show case my work.” Attendees of the reception also received the 2012 American Latino Museum Campaign Poster, the contest-winning poster created by the Latino-owned firm, UNO Branding found here.

Friends of the National Museum of the American Latino (www.americanlatinomuseum.org)
Friends of the National Museum of the American Latino, Inc., a 501(c)(3) incorporated in Washington, D.C., strives to create a museum in our nation’s capital to educate, inspire and encourage respect and understanding of the richness and diversity of the American Latino experience within the U.S. and its territories by highlighting the contributions made by Latino leaders, pioneers and communities to the American way of life.
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Friday, September 07, 2012

The National Museum of the American Latino

One of Jesús Manuel Mena Garza's photos on exhibit next week at the Ronald Reagan Building promoting the National Museum of the American Latino. See you there.

Click photo to enlarge

Jesús Manuel Mena Garza will exhibit his photographs and speak at a Congressional Hispanic Caucus Institute gathering in Washington D.C. on Sept. 12, 2012. Garza will clarify CHCI’s work with the Smithsonian Latino Center and its efforts to celebrate the cultural richness and diversity of the Latino community. The photographer will underline the need for a physical home on the National Mall for a Museum of the Latino.

The photographs on display at the Ronald Reagan Building were captured from 1970 to 1975. During this period, Garza took intimate photographs of Chicano icons César E. Chávez, Rodolfo “Corky” Gonzáles and others. The photographs provide a retrospective glimpse from the unique perspective of the photojournalist and activist.

Midwestern State University Professor Dr. Ann Marie Leimer adds, “During the past decades, Garza has extensively published and exhibited several documentary photographic series. The Chicano Photographer series explores important aspects of the American experience, historic events and cultural practices often marginalized by the dominant culture.” Photographs from the series are in the collection of the Smithsonian Institution, various universities and have been published in journals and books. The Chicano Photographer series and press kit can be accessed at Garza’s website, www.jmmgarza.com.

Contact: Ann Marie Leimer, Ph.D., (940) 397-4264, ann.leimer@mwsu.edu
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