Originally published under title: Dictionary of Chicano folklore. Santa Barbara, Calif.: ABC-CLIO, c2000.

Gathers riddles, rhymes, folk poetry, stories, ballads, superstitions, customs, games, foods, and folk arts of the Mexican-Americans

This collection of essays interrogates the most contested social, political, and aesthetic concept in Chicana/o cultural studies—resistance. If Chicana/o culture was born of resistance amid assimilation and nationalistic forces, how has it evolved into the twenty-first century? This groundbreaking volume redresses the central idea of resistance in Chicana/o visual cultural expression through nine clustered discussions, each coordinating scholarly, critical, curatorial, and historical contextualizations alongside artist statements and interviews. Landmark artistic works—illustrations, paintings, sculpture, photography, film, and television—anchor each section. Contributors include David Avalos, Mel Casas, Ester Hernández, Nicholas Herrera, Luis Jiménez, Ellen Landis, Yolanda López, Richard Lou, Delilah Montoya, Laura Pérez, Lourdes Portillo, Luis Tapia, Chuy Treviño, Willie Varela, Kathy Vargas, René Yañez, Yvonne Yarbro-Bejarano, and more. Cara a cara, face-to-face, encounters across the collection reveal the varied richness of resistant strategies, movidas, as they position crucial terms of debate surrounding resistance, including subversion, oppression, affirmation, and identification. The essays in the collection represent a wide array of perspectives on Chicana/o visual culture. Editors Scott L. Baugh and Víctor A. Sorell have curated a dialog among the many voices, creating an important new volume that redefines the role of resistance in Chicana/o visual arts and cultural expression.

"Advancing a Chicana feminist interpretation, Davalos carefully explores both the history of nineteenth- and twentieth-century museum practices and the more recent phenomenon of physically locating Mestizo/Chicano art within "insider spaces" (such as ethnically or racially specific cultural institutions and alternative galleries). Just as public museums instruct visitors about who does and who does not belong to a nation's legacy, Davalos makes clear that exhibitions in so-called minority museums are likewise shaped by notions of difference and nationalism and by the politics of identity and race."--BOOK JACKET.

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.

As he lay bleeding in a Vietnamese rice paddy, his right arm shredded by shrapnel, artist Jesse Treviño realized that he wanted to honor and preserve his family and his cultural heritage through his artwork. After receiving a Purple Heart and undergoing two years of rehabilitative therapy and the amputation of his right forearm—including his painting hand—Treviño enrolled in San Antonio College, determined to learn how to draw and paint with his left hand. In 1974 he produced the impressive La Historia Chicana, a one hundred-foot-long work embracing six centuries of Mexican American heritage now on display inside the Sueltenfuss Library at Our Lady of the Lake University in San Antonio. Since then, Treviño has completed many more paintings and public artworks, including Spirit of Healing, the nine-story hand-cut tile mosaic that graces Christus Santa Rosa Children’s Hospital in downtown San Antonio. His work has been collected by the Smithsonian American Art Museum, the Lyndon Baines Johnson Library and Museum, and the San Antonio Museum of Art. Anthony Head’s sensitive and elegant biography now offers readers an intimate view of the artist’s life. Head captures Treviño’s determination, artistic vision, and the deep pride in his Chicano heritage that he transmits to the world through his creations. Spirit: The Life and Art of Jesse Treviño promises to engage and inspire readers with its vivid portrayal of this triumph of art and the human spirit.

A sweeping history of Los Angeles told through the lens of the many marginalized groups—from hobos to taggers—that have used the city’s walls as a channel for communication Graffiti written in storm drain tunnels, on neighborhood walls, and under bridges tells an underground and, until now, untold history of Los Angeles. Drawing on extensive research within the city’s urban landscape, Susan A. Phillips traces the hidden language of marginalized groups over the past century—from the early twentieth-century markings of hobos, soldiers, and Japanese internees to the later inscriptions of surfers, cholos, and punks. Whether describing daredevil kids, bored workers, or clandestine lovers, Phillips profiles the experiences of people who remain underrepresented in conventional histories, revealing the powerful role of graffiti as a venue for cultural expression. Graffiti aficionados might be surprised to learn that the earliest documented graffiti bubble letters appear not in 1970s New York but in 1920s Los Angeles. Or that the negative letterforms first carved at the turn of the century are still spray painted on walls today. With discussions of characters like Leon Ray Livingston (a.k.a. “A-No. 1”), credited with consolidating the entire system of hobo communication in the 1910s, and Kathy Zuckerman, better known as the surf icon “Gidget,” this lavishly illustrated book tells stories of small moments that collectively build into broad statements about power, memory, landscape, and history itself.

Presents the Chicano experience of living within, between, and sometimes outside two cultures, exploring the damnation, salvation, and celebration of it all.

The Latino Body tells the story of the United States Latino body politic and its relation to the state: how the state configures Latino subjects and how Latino subjects have in turn altered the state. Lázaro Lima charts the interrelated groups that define themselves as Latinos and examines how these groups have responded to calls for unity and nationally shared conceptions of American cultural identity. He contends that their responses, in times of cultural or political crisis, have given rise to profound cultural transformations, enabling the so-called “Latino subject“ to emerge. Analyzing a variety of cultural, literary, artistic, and popular texts from the nineteenth century to the present, Lima dissects the ways in which the Latino body has been imagined, dismembered, and reimagined anew, providing one of the first comprehensive accounts of the construction of Latino cultural identity in the United States.

Whether at UFW picket lines in California’s Central Valley or capturing summertime street life in East Harlem Latinx photographers have documented fights for dignity and justice as well as the daily lives of ordinary people. Their powerful, innovative photographic art touches on family, identity, protest, borders, and other themes, including the experiences of immigration and marginalization common to many of their communities. Yet the work of these artists has largely been excluded from the documented history of photography in the United States. Through individual profiles of more than eighty photographers from the early history of the photographic medium to the present, Elizabeth Ferrer introduces readers to Latinx portraitists, photojournalists, and documentarians and their legacies. She traces the rise of a Latinx consciousness in photography in the 1960s and '70s and the growth of identity-based approaches in the 1980s and '90s. Ferrer argues that in many cases a shared sense of struggle has motivated photographers to work purposefully, driven by a deep sense of resistance, social and political commitments, and cultural affirmation, and she highlights the significance of family photos to their approaches and outlooks. Works range from documentary and street photography to narrative series to conceptual projects. Latinx Photography in the United States is the first book to offer a parallel history of photography, one that no longer lies at the margins but rather plays a crucial role in imagining and creating a broader, more inclusive American visual history.