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Interview with Mike Arroyos, May 2009
No full textThese oral histories were conducted in the Spring 2009 semester of the Mexican American Culture (BBL 3023) course taught by Dr. Marie Miranda. The course is a survey of Mexican American cultural distinctiveness in the areas of biculturalism, cultural production, and social organization. This offering of the course examined Chicana/o popular culture focusing on rock ‘n’ roll
Interview with Wilfredo Ortiz, May 2, 2009
No full textThese oral histories were conducted in the Spring 2009 semester of the Mexican American Culture (BBL 3023) course taught by Dr. Marie Miranda. The course is a survey of Mexican American cultural distinctiveness in the areas of biculturalism, cultural production, and social organization. This offering of the course examined Chicana/o popular culture focusing on rock ‘n’ roll
Alamo: the Evidence
No full textPart of a series of curriculum guides created by the Institute of Texan Cultures: Educational Programs Department
Interview with Maurio "Mr. Hyde" Ayilas, April 27, 2009
No full textThese oral histories were conducted in the Spring 2009 semester of the Mexican American Culture (BBL 3023) course taught by Dr. Marie Miranda. The course is a survey of Mexican American cultural distinctiveness in the areas of biculturalism, cultural production, and social organization. This offering of the course examined Chicana/o popular culture focusing on rock ‘n’ roll
Interview with Doug Holden, 2009.
No full textDoug Holden tells of his experience in military communications security which began during World War II and the formation of Military intelligence agencies. Following his retirement, Holden describes his volunteer work, which includes teaching at ALIR -- Academy of Learning in Retirement, and as a docent at UTSA's Institute of Texan Cultures
Sankofa “The Differences Between”
No full text"Sankofa is a West African symbol that means 'learning from the past.' The central image is that of a young girl who’s identity is known only from an inscription on the original photograph that reads 'Aunt Lillya’s niece, San Marcos, Texas.' Appelin-Williams discovered the haunting photograph while rummaging through a San Antonio house marked for demolition. On visiting museums in her youth, she says: 'I didn’t see images that looked like me, or that represented African American art and artists.' Her own life experience made this photograph significant because the little girl is cradling a black doll, an unlikely scene for a photograph from the 1920’s or 30’s. If one looks carefully, a second image of the melancholy girl is faintly visible. The artist uses multiple layers of the same image to allude to a parallel universe; in other words, the past, present, and future happening simultaneously. The indigo color through most of the print represents the Middle Passage, or the history of how both the artist’s and the subject’s ancestors arrived in Texas. The color red symbolizes life-blood, while the tree symbolizes life, death, rebirth, and family. In honor of Serie suite XVI, there are sixteen Andinkra symbols lining the left edge of the print. While researching the significance of the number '16,' Appelin-Williams became fond of a mathematical equation. She said, 'While transcribing it, I kept getting it wrong, but I chose to leave the mistakes in the piece to show that we do make mistakes, as humans.'" - excerpt from Serieproject.org23.5 x 16 i
Cholo
No full text"El Cholo is a portrait and narrative print that tells the story of his friend Arturo, nicknamed Cholo. The young man depicted in the portrait lives only two blocks away from the border of El Paso and Ciudad Juarez, and he breeds pitbulls as a hobby. Moya and his friend met while working at a maquiladora (American-owned assembly plants located on either side of the border). His print provides social commentary on this aspect of the border economy, as American companies set up manufacturing plants on Mexican soil to exploit cheap labor, then they transport the products over the border and finish their assembly in El Paso, where products are labeled Made in the USA. In the print’s foreground, El Cholo stands proud with one of his first puppies, while the pitbull bitch stand to his left. The sports jersey and cap reflect the cholo look characteristic of border towns. On his jersey, Moya added two Aztec symbols: the number 16 in honor of Serie Project’s 16th year anniversary and the Aztec symbol for dog in honor of his friend. An arid desert with sand dunes forms the background with the border fence creating a diagonal that leads to the horizon line." - excerpt from Serieproject.org24 x 18 i