Five Questions with Mario T. García and Ellen McCraken on Rewriting the Chicano Movement

February 26, 2021

Rewriting the Chicano Movement, edited by Mario T. García and Ellen McCraken, is a new collection of powerful new essays on the Chicano Movement that expand and revise the understanding of the movement. These essays capture the commitment, courage, and perseverance of movement activists, both men and women, and their struggles to achieve the promises of American democracy. The contributors to this book highlight the role of women in the movement, the regional and ideological diversification of the movement, and the various cultural fronts in which the movement was active.

Here, García and McCraken answer question about this new book:

Why is it important to revisit the history of the Chicano Movement through this book?

It’s important to revisit the history of the Chicano Movement through this book because the Movement represents a seminal part of the history of Chicanos (Mexican Americans) in the United States. It was the largest and most widespread civil rights and empowerment movement by people of Mexican descent up to the 1960s and 1970s. The Chicano Movement through its struggles opened up new opportunities for Chicanos in areas formerly restricted such as in education, especially higher education, politics, culture, media, and business. These opportunities were not given willingly, but had to be forced by mass peaceful struggles. The Movement for the first time made Chicanos, and by extension other Latinos, into national political actors. The roots of Latino political power, which is a reality, lie in the Chicano Movement as well as similar struggles by other Latino groups such as Puerto Ricans in the United States. It is important to know about the history of the Chicano Movement as a reminder of how power and opportunities are accessed.  It comes through people power and the organization of this power. We need to learn these lessons at a time when reactionary forces led by Donald Trump would impose an American form of totalitarianism. Chicanos and Latinos must be in the forefront of defending American democracy and civil rights and we can be inspired to do so by learning how our communities in the past have struggled for our rights such as in the Chicano Movement.

Is there a commonality worth noting that runs through the book’s essays?

The commonality that runs through the book is the commitment by Chicanos through the Chicano Movement to achieve recognition, respect, and dignity in American society through various forms of struggles including political, educational, and cultural ones. What is also common in the book is that we need to rewrite the Chicano Movement to take into consideration the diversity of the Movement. There was no one Movement but many in different regions of the country, which included both men and women.

What conversations, in community or classroom, do you hope rise from the book?

We hope that the book will be used by both educational groups and community ones to re-discover the historical importance of the Chicano Movement and its continued relevance to today’s conditions and struggles. The Chicano Movement did not eliminate racism, class discrimination, cultural discrimination, and gender discrimination for Chicanos and other Latinos. What the Movement did was to empower Chicanos to believe that they and they alone could change history and pressure the system to become more equitable and democratic. We are not there yet, but the Movement can still inspire and guide us in continuing the struggle. We hope that readers will confront the question: How is the Chicano Movement still relevant to us today?

How can telling untold stories about the Movement help the momentum of today’s activists and organizers?

Telling untold stories about the Chicano Movement, as noted, can hopefully inspire and guide today’s activists in learning that the struggles for democratic rights has a long history and with many heroic figures, male and female, who have participated in earlier struggles to empower the Chicano and Latino communities. There is a praxis involved in our book. First, we want people to read about these untold stories of the Movement. Then we want readers to reflect on the meaning and importance of these stories.  And then, and this is most important, we want readers to act on these stories. How can I take up the legacy of the Chicano Movement and apply it to my current conditions? How can I continue the struggle?

The struggle continues, does that mean the Movement continues, too?

We hope that the struggle inspired by the Chicano Movement will continue.  Does this mean that the Chicano Movement is still alive? Yes and no. As a historical movement set in the late 1960s and 1970s, the Movement no longer exists as such; it is a historical movement set in time and place.  However, the legacy of the Movement continues. It is a legacy of the struggle for democratic and human rights and for the rights of people such as Chicanos and other Latinos to define themselves and be proud of their ethnic background. That struggle has continued in the post-Movement years and still does in the new millennium.   

***

Mario T. García is Distinguished Professor of Chicano Studies and History at the University of California, Santa Barbara, specializing in Chicano history, Chicano/Latino autobiography, and Chicano/Latino religion. He is the author, co-author, and editor of more than twenty books in Chicano history, including Blowout! Sal Castro and the Chicano Struggle for Educational JusticeThe Making of a Mexican American Mayor, and Literature as History. He has won a number of awards, including a Guggenheim Fellowship.

Ellen McCracken is a professor in the Department of Spanish and Portuguese at University of California, Santa Barbara, specializing in U.S. Latino and Latin American literature. Her books include New Latina NarrativeThe Life and Writing of Fray Angélico Chávez, and Paratexts and Performance in the Novels of Junot Díaz and Sandra Cisneros.

Watch: Gary Nabhan and Francisco Cantú Discuss the Nature of Desert Nature

November 23, 2020

Recently, editor Gary Nabhan, contributor Francisco Cantú, and University of Arizona Press marketing assistant Savannah Hicks came together virtually as part of the Tucson Festival of Books Authors in Conversation series to talk about Nabhan’s new collection, The Nature of Desert Nature.

The desert inspires wonder. Attending to history, culture, science, and spirit, The Nature of Desert Nature celebrates the bounty and the significance of desert places.

Watch their discussion below.

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Whale Snow: Five Questions with Author Chie Sakakibara

November 10, 2020

In Whale Snow: Iñupiat, Climate Change, and Multispecies Resilience in Arctic Alaska author Chie Sakakibara uses multispecies ethnography to explore how the relatedness of the Iñupiat of Arctic Alaska and the bowhead whale forms and transforms “the human” through their encounters. Sakakibara shows how people of Arctic Alaska live in the world that intersects with other beings, how these connections came into being, and, most importantly, how such intimate and intense relations help humans survive the challenges of climate change. Today, Chie answers our questions.

The artwork on the cover of your book is stunning. Please tell us more about the artist Nasuġraq Rainey Hopson.

Nasuġraq Rainey Hopson is an Iñupiaq artist and writer who was born and raised on the North Slope of Alaska. She is someone who I heartily admire for her deep commitment to her community through the promotion of Iñupiaq values, aesthetics, and environmentalism. As a dear friend, mentor, and collaborator, Nasuġraq kindly contributed the cover art, X-ray Whale, along with the original frontispiece and three illustrations included in Whale Snow. Her creations eloquently tell many stories, and they often point to a positive reciprocal relationship that goes across the boundary of humans and nonhuman animals, which gets intensified in our times of global climate change. This dynamism is the subject of Whale Snow.  

Nasuġraq calls Anaktuvuk Pass (AKP) home, a beautiful village nestled in the foothills of the Brooks Range, and her days are filled with adventures with her daughter, husband, a small flock of chickens, a variety of types of artistic expression, and writing. She is also known as a groundbreaking Arctic gardening guru, and is the founder of America’s northernmost gardening project called “Gardens in the Arctic,” which has successfully grown fresh produce for her community since 2016. Visit Nasuġraq’s website, Nasuġraq Rainey Hopson: Iñupiaq Artist and Writer, to learn more about her career: https://www.nasugraqhopson.com/.

Portrait of Chie Sakakibara and Nasuġraq Rainey Hopson in Anaktuvuk Pass, Alaska. Photo by Aaron A. Fox.

In the Arctic, climate, culture, and human resilience are connected through bowhead whaling. You write that climate change has disrupted this ancient practice. What are some of the implications of this disruption?

In Whale Snow, I explored how Iñupiat live their values in the midst of pervading modernity in relation to colonial encounters and ongoing social and environmental transformations. Each of their social principles is now threatened by myriad ramifications of climate change. For so many times, on so many occasions, and in so many places, I have witnessed how the joy of getting a whale has worked a miracle to transform human lives, experiences, and relations. At the same time, it suggests the costs of not getting any whales. Without the whales, social tensions rise. Without the whales, the meaning and order the whales bring to sustain the community gets diluted—no whale means no harmony and no assurance of community integrity. When the ocean rises, sea ice deteriorates, and the tundra thaws, the devastation of not having any whales is immeasurable, and at times results in social rupture through violence, alcoholism, substance abuse, depression, and unexpected death, just to name a few. This is why whaling remains the central idiom of Iñupiaq well-being and sovereignty. Whaling maintains social health and solidarity as the foundation of survival. This is why the responsibility of the whalers is so immense.

At this time of further uncertainties for subsistence, the temptation of not observing the community norms gets much closer to the surface of their social fabric. At the same time, however, in the face of heightening anxiety and stress, development of interpersonal and interspecies bonds fosters resilience that ultimately strengthens the people. Such resilience can be invigorated through proactive adaptation to change, which leverages tradition and culture in modernity. This process of adaptation often manifests in a form of multispecies reciprocity in Arctic Alaska, which deeply intertwines the humans with humans, humans with animals, and humans with the environment. In the face of heightening anxiety and stress, development of interpersonal and interspecies bonds creates resilience that ultimately sustains the people.

Aerial View of Utqiaġvik, Alaska – Photo by Chie Sakakibara

Global environmental change is all around us. In this time of ecological transition, why is exploring multispecies relatedness important?

As the COVID-19 pandemic and its interspecies origins underscore, we all live in the Anthropocene, an age in which humans and other animals are forced to live in closer proximity, share viruses, and confront new ones. Interspecies entanglements have increased their significance due to accelerating ecological dilemmas. My Iñupiaq mentors and collaborators taught me the importance of interspecies togetherness, or multispecies solidarity. Togetherness cultivates resilience, the capacity of individuals and communities to adapt, recover, and survive challenges and uncertainties. In this context, as Donna Haraway says, we must make kin as we are not the only important actors, and kin-making is a multispecies affair to cultivate resilience and mitigate vulnerability for survival. The Iñupiaq way of life clearly embodies this philosophy. Whale Snow is a journey to unpack such relations to better comprehend further entanglements between humans and nonhuman others as we are increasingly forced to live together.

Kaleak Crew, successful whaling crew, celebrates the end of whaling season in Utqiaġvik, Alaska. Photo by Flossie Nageak.

You open the acknowledgements by describing a promise you make to a community member to “not disappear” once you completed your fieldwork. Why was this so important?

Academic researchers in Indigenous communities have a fraught relationship with Indigenous communities with data mining, and this history remains inseparable from the legacy of colonialism and colonization. It was this reputation for outsider extraction that my mentor Martha Aiken was afraid of. She had seen how local knowledge and experience were conveniently extracted, simplified, and plugged into the market economy as medicine, books, popular music, and designs, or when they were instantly turned into private property after being detached from their appropriate cultural contexts. Rarely was a plan to benefit the community part of this enterprise. On my first day in her community as a graduate student, Martha asked me to swear that I would commit myself to cultivate a long-term relationship with her and her community before starting to work on my dissertation research. I agreed to make the commitment. Now, many years later, I am still in the process of earning my place. The process of relationship-building has opened many doors to me that would have otherwise stayed closed; it is obvious but not an exaggeration to say that this study could not have been written without community participation and co-authorship. Martha has since passed away, but as a faculty member at Oberlin College, I continue to share her wisdom with my students to educate future generations of scholars—both Indigenous and non-Indigenous—about the importance of social justice, research ethics, community benefit, collaboration, and reciprocity so the future scholars will never disappear. Whale Snow is a token of my humble reciprocity with Martha and the community that adopted me and considered and cared for me as their own. As a partial fulfillment of Martha’s mandate, I wrote this book to offer insights into the depth of Iñupiaq-whale relations, and especially how they intersect with Iñupiaq struggles to achieve cultural sovereignty through the whaling cycle, and in so doing exhibit resilience in the face of unrelenting impacts of global climate change.

What do you hope people take away from your work?

Indigenous vulnerability to climate change has been discussed extensively in the fields of public policy, political science, anthropology, and geography, but comparatively few studies have actually shed light on the ways in which people emotionally invest themselves in their entanglements with animals and environments to nurture resilience. In contrast, Whale Snow shares powerful and positive stories about Indigenous experiences coping with climate change. As climate change increases environmental and cultural uncertainties, it also intensifies Iñupiaq emotions and relatedness with the bowhead whale to seek out cultural activities that strengthen social identities and a politics of Indigenous sovereignty. In this sense, my narrative departs from studies that emphasize human vulnerability and instead serves as an ethnography of hope cultivated and entangled with interspecies relations.

This book lies at the intersection of my personal life and stories of America’s northernmost Indigenous society. My narrative is steeped in a deep long-term relationship between a culturally adopted Japanese woman in the two Iñupiaq villages and her adoptive family members, relatives, mentors, collaborators, colleagues, friends, and acquaintances. This is the story of the people and the bowhead whale, and at the same time, the story of my own life. My fieldwork has become synonymous with my personal growth and fulfillment as an adopted member of whaling crews through participation in everyday life in contemporary rural Alaska. In many different ways and contexts, my adoptive families and kin taught me that the Iñupiaq-whale relationship is a force of innovation and adaptation that now serves as a way to cope with social stress and the unforeseeable future. In other words, this book was germinated in my own process of becoming an Iñupiaq (meaning “a complete person”) through building a relationship with Iñupiat and their nonhuman kin, and I present this book as a humble offering for the people and whales who are connected through emotive bonds, words, stories, and songs that they have so generously bestowed upon me.

Whale Snow Frontispiece – By Nasuġraq Rainey Hopson.

Chie Sakakibara is an assistant professor of environmental studies at Oberlin College. She was trained in cultural geography, art history, and Indigenous studies. Her work explores human dimensions of global environmental change among Indigenous peoples. Native to Japan, Sakakibara is a proud adoptive member of the Iñupiaq whaling community. Her love of humans and nonhuman animals manifests in her academic work as well as in her life with one human daughter and two canine sons.

All royalties accruing from sale of this publication go to the North Slope Borough Iñupiat History, Language, and Culture Commission.

All images in the post are are copyrighted. Do no reproduce without permission.

Anne García-Romero Featured on New Books Network Podcast

September 15, 2020

University of Arizona Press author Anne García-Romero was featured on a recent episode of the New Books Network podcast for her book, The Fornes Frame.

“In The Fornes Frame: Contemporary Latina Playwrights and the Legacy of Maria Irene Fornes (University of Arizona Press, 2016) playwright and theatre scholar Anne García-Romero traces the career and legacy of Maria Irene Fornes.

Fornes was one of the most significant American playwrights of the twentieth century, and her legacy is evident in the dozens of playwrights she mentored over the course of her long career. García-Romero shows how her unique pedagogy and her example as a successful Latina experimental playwright continue to inspire playwrights like Caridad Svich, Cusi Cram, Elaine Romero, Quiara Alegría Hudes, and Karen Zacarías.”

Listen to the podcast and read more here.

Frederick Luis Aldama Featured on New Books Network Podcast

September 15, 2020

University of Arizona Press author Frederick Luis Aldama was featured on a recent episode of the New Books Network podcast to discuss his new volume, which he co-edited with Arturo J. Aldama, Decolonizing Latinx Masculinities.

“In this episode we sit down with Frederick Luis Aldama, Distinguished University Professor at the Ohio State University and co-editor of Decolonizing Latinx Masculinities (University of Arizona Press), to discuss some of the cutting-edge research in this new edited volume.

This rich collection of work from eighteen contributors approaches the topic of masculinities from a diversity of perspectives and methodologies. With special emphasis on the plurality of Latinx masculinities, the essays reveal the divergent manifestations of masculinity across a broad spectrum including politics, social movements, literature, media, popular culture, personal experience, and other analytical angles. The pernicious effect of stereotypes and toxic Latinx masculinity is laid bare throughout the text in chapters that challenge the derogatory performances and reification of machismo in mainstream U.S. culture and society.”

Listen to the podcast and read more here.

Decolonizing Latinx Masculinities: Five Questions with Frederick and Arturo Aldama

August 5, 2020

In Decolonizing Latinx Masculinities, eighteen contributors explore how legacies of colonization and capitalist exploitation and oppression have created toxic forms of masculinity that continue to suffocate the lives of Latinx people. And while the authors seek to identify all cultural phenomena that collectively create reductive, destructive, and toxic constructions of masculinity that traffic in misogyny and homophobia, they also uncover the many spaces—such as Xicanx-Indígena languages, resistant food cultures, music performances, and queer Latinx rodeo practices—where Latinx communities can and do exhale healing masculinities.

Below, editors Arturo J. Aldama and Frederick Luis Aldama answer five questions about their new volume.

 What inspired you to create this edited volume?

The short answer: It’s the right moment. Of course, there’s been much important work done already within different critical (street and ivory tower) spaces to trouble, overturn, and break from stagnant, stagnating, straightjacketing behaviors (thought and feeling systems), policies, and cultural imaginaries. In our introduction to the volume, we mention a whole slew of such powerfully transformative creators, writers, and activist-thinkers. Too many to list here.

We are both very inspired and transformed by Xicana, indigenous and women of color feminist thought and queer of color critique so we thought it is important to bring a decolonial gaze into the constructions and performance of Latinx masculinities.

By moment, we mean that there’s today un gran Latinx tsunami pushing up from seafloors with a hereto unimagined potent kinetic energy. Young gen Latinxs creator-scholars are leading the charge, modeling vital and vigorous twenty-first century decolonizing ontological and epistemological practices. It’s more than a moment. It’s a movement. The legion of extraordinary activist creator-scholars that make up Decolonizing Latinx Masculinities are its avantgarde.

What do you think the long-term implications of negative masculine stereotypes in the popular media—from fictional TV shows to political news coverage— are for Latinx youths?

From TV shows like Narcos and Borderforce and films such as Sicario to the Chief Executive Cheeto’s racist, sexist, and hetero-thuggish Tweets, mainstream media continues to give free license to retrograde social and economic policies. Arguably, as never before the mainstream media functions to justify Klansman-like terrorist actions against LGBTQ+ and Brown, Black, and Indigenous communities in this country. The mainstream media filled with images of Latinxs as a Brown horde threat that threatens White civilization justifies the intensification of violence and surveillance within our carceral state.  That results in the curtailing—no, the destruction—of the full flourishing of complex, non-binaristic Latinx thought, feeling, and action systems.  That allow us to be in ways far more expansive than erstwhile concepts of gender and sexuality captured.

This said, and as the work in this volume attests, we’re not sitting around on our hands. We never have. We never will. We’re using our pens as our machetes. We continue to work hard to resist the onslaught of destructive media, wrenching tight tourniquets to stop culturacidal hemorrhages.

The transformative work seen by the scholar-creator activists in this volume are testament to this fact. They not only re-act. They open new spaces for us to inhale multispectrumed identities and exhale multifarious experiences. They clear new affirming paths that invite us to move powerfully forward.

With Decolonizing Latinx Masculinities we hope that millennial Latinx subjects will begin to truly question and decolonize the practices of toxic masculinities and learn to love each other and others without the straitjackets of misogyny and homophobic/transphobic violence(s) perpetuated by the capitalist media congloms.

Do you think the young adult literature, shows, films, podcasts, and music of today are opening the conversation for healthier masculinities, or do you think all of these industries still have a long way to go?

Everywhere we turn, Latinx creators are opening eyes to the resplendent spectrum of liberatory modes that we exist—and can exist. We think readily of queer author Alex Sanchez’s breathtaking coming of age and out Aqualad superhero graphic novel for DC. (See Fred’s “Anatomy of a Panel with Alex Sanchez”.). We think of Latinx-helmed TV shows like the rebooted One Day at a Time, Vida, and Gentefied that variously trouble simplistic and stifling ways of being in terms of language, culture, gender and sexuality. (See Fred’s “Love Victor: Brown Queer Teen Tvlandia Watershed; or Hollywood Brown Flavored Bubblegum”.) We think of the vital new audioscapes created by new gen nonbinary Latinx musicians such as Dominican Latinx Rubby and Afro-Boricua Nitty Scott. It’s in these Latinx-grown cultural spaces that we see the pop happening when it comes to waking the world to the vibrant, multispectrumed non-binary ways that we can and do feel, think and perceive in the world.

Recognizing that many aspects of toxic masculinity are rooted in colonialism, how do you think communities should work toward more Indigenous ways of thinking about and performing gender?

Unfortunately, the colonial legacy is still with us. From generation to generation, we’ve passed down a colonial mentality; we’ve passed down centuries of destructive and restrictive ways of thinking and feeling as colonized peoples. The result: we Latinxs act from fear—a fear that divides us from one another—that atomizes us—and that ultimately destroys our families and communities. It’s hate that we see rear its ugly head when a family member fires pejorative bullets at us like puto, maricón, chavala, puta, crybaby, lloroncito, bitch, pussy, niñita. Decolonizing Latinx Masculinities offers the many different ways we can begin to unlearn this hate and fear. It’s the work of those who have come before us and new gen Latinx scholar-creator activists like those in this volume that can and do show us how to decolonize minds,  bodies—spirits. They can and do invite us to struggle free from those straightjackets of binary and polarized models of existence. They welcome us into new dynamic and multispectrumed modes of existing as genders, sexualities—as expansively loving masculinities.

What are you working on now?

We have our individual projects, of course. Fred’s working on the animation adaptation of his debut kid’s lit book, The Adventures of Chupacabra Charlie and continues his work Latinx-diversifying the otherwise white space of comics studies. As Chair of Ethnic Studies, Arturo is focused on doing outreach to the Latinx community through the funded Latinx history projects and continue work with the lyripeutics project to bring decolonial spoken word and hip hop pedagogy to Latinx and other youth of color who are surviving the school to prison pipeline.

We love working together, not only on editing volumes such as Decolonizing Latinx Masculinities but also the work of shepherding new visions and voices through our Latinx Pop Culture book series with you all, the University of Arizona Press. We have some extraordinary books to look forward to seeing on library bookshelves, classroom desks, and ruffled up in backpacks and back-pockets, so be sure to keep an eye out for them in the future.

Arturo J. Aldama is an associate professor and chair of Ethnic Studies at the University of Colorado, Boulder, and affiliate faculty in Gender and Women’s Studies. He received his doctorate in ethnic studies from University of California, Berkeley, in 1996. He is co-editor of the University of Arizona Press’s series Latinx Pop Culture. He is the author of Disrupting Savagism: Intersecting Chicanalo, Mexican Immigrant and Native American Struggles for Representation and author and curator of Moments in Mexican American History: Racism and Resistance, a forty-panel traveling exhibit on the histories of racism, violence, and activism in Mexican American and Chicanx communities of the Southwest. He is co-editor of numerous volumes, including Comparative lndigeneities of the Américas: Toward a Hemispheric Approach.

Frederick Luis Aldama is University Distinguished Professor, Arts & Humanities Distinguished Professor of English, University Distinguished Scholar, and Alumni Distinguished Teacher at The Ohio State University. He is the 2018 recipient of the Rodica C. Botoman Award for Distinguished Teaching and Mentoring and the Susan M. Hartmann Mentoring and Leadership Award. He is the award-winning author, co-author, and editor of more than forty books. In 2018 his Latinx Superheroes in Mainstream Comics won the International Latino Book Award and the Eisner Award for Best Scholarly Work. He is editor and co-editor of eight academic press book series, including Latinx Pop Culture, as well as editor of Latinographix, a trade press series that publishes Latinx graphic fiction and nonfiction. His other University of Arizona Press books include Latinx Ciné in the Twenty-First Century, Long Stories Cut Short, and Reel Latinxs.

Q & A with Heather Cahoon Offers Deeper Look at Horsefly Dress

July, 2020

Horsefly Dress is a meditation on the experience and beauty of suffering. Rich in the imagery of autumnal foliage, migrating birds, and frozen landscapes, Heather Cahoon’s collection calls forth the sensory experience of grief and metamorphosis. The transformative powers associated with the human experience of loss belong to the past, present, and future, as do the traditional Salish-Pend d’Oreille stories that create the backbone of these intricate poems.

Below, Heather Cahoon answers a few questions about her beautiful new poetry collection.

The poems in Horsefly Dress are influenced by traditional Séliš and Qĺispé stories. How do you think these stories guide and impact the contemporary lives of Salish-Kalispel peoples?

I think it varies a lot from individual to individual and depends on each person’s exposure—or lack thereof—to the stories.  There are many reasons for the lack of exposure but among the foremost are federal Indian policies of assimilation that were designed to acculturate American Indians.  These policies were very aggressive and included on- and off-reservation boarding schools for Native youth, the banning of sacred spiritual practices, and the forced allotment of reservations, among other collateral outcomes from these policies.  Federal assimilation efforts were obviously never fully successful, however, and many people managed to maintain their traditions to varying degrees.  As a result of both of these sort of countervailing efforts by federal officials and tribal people, American Indians today may have more or less access to their cultural traditions, including their traditional stories.  That said, there are definitely segments of my community whose contemporary lives are very much guided and impacted by our traditional stories.  These stories are hyperlocal and relevant; they are located right here where we live out our daily lives and they continue to have so much to teach us about inhabiting this place and about being human.

Avian symbolism plays a powerful role in this collection. Could you please tell us more about the significance of birds in your work?

Some of the significance is tied to tribal symbolism but most of it, in this collection, is personal.  Whenever I’m out trail walking or hiking there are birds present—you can hear them, you often see them moving about the forest and so much of the time they seem to be just part of the scenery.  But every so often, one steps out of that in a way that penetrates my experience or perception of being the primary observer and suddenly I am aware that I am being perceived by something just as alive and sentient as I am.  Some of these exchanges or interactions are longer and more drawn out while some are very brief.  Each one is unique but they are all so poignant and meaningful that they’ll often make their way into my poems.

The poems in Horsefly Dress are bursting with vivid foliage, animals, and natural elements. What is your process for weaving nature so intimately into your poetry?

My family has spent so much time outdoors in the mountains.  Growing up, my father made a living by hunting and by selling things he could harvest from around our reservation and we often helped him in these endeavors.  He sold Christmas trees, firewood, landscaping stones and even dropped deer and elk antlers, which sometimes he would make into antler lamps and chandeliers.  We also spent time as a family just driving to pretty places for either camping or fishing or just to enjoy the peacefulness and smell of the mountains.  It has been my father’s belief that for whatever ails a person, all they need is to retreat into the mountains in order to become well.  Needless to say, I continue to spend time in the outdoors and the experiences I have with local places, flora and fauna inevitably end up in my poems. 

Dreams are featured prominently in this collection. How do dreams affect your creative process?

I occasionally have dreams that are so vivid and powerful that I think about them off and on for days, sometimes even years, until I understand their meaning.  Interestingly, it’s often the creative process of making them into poems—the act of writing about them in such detail—that helps me fully understand them, to see or hear or decode their messages for me. 

What are you working on now?

I am working on and off on a longer-term project that involves revising and expanding my 2005 poetry chapbook Elk Thirst into a full-length collection.  Besides this, I recently launched and direct the American Indian Governance and Policy Institute at the University of Montana and am working to develop a comprehensive tribal public policy needs assessment for each of the tribal governments located our state.  I can get mentally caught up in my policy research and writing, which is very cerebral, but this state is countered by writing poetry, which brings me back to into the present and helps ground me in a bodily experience of time and place.

Read a poem from Horsefly Dress, included below.

RENDER

May I be worthy 
   of my most embattled moments.
          May I find a way    to render meaning 
from the blood marbled-memories
          cached inside
the carcass of the past. 

© 2020 by Heather Cahoon

Heather Cahoon, PhD, earned her MFA in poetry from the University of Montana, where she was the Richard Hugo Scholar. She has received a Potlatch Fund Native Arts Grant and Montana Arts Council Artist Innovation Award. Her chapbook, Elk Thirst, won the Merriam-Frontier Prize. She is an assistant professor of Native American studies at the University of Montana. She is from the Flathead Reservation and is a member of the Confederated Salish and Kootenai Tribes.

A Conversation With Diné Scholar Lloyd L. Lee

May 15, 2020

University of Arizona Press author Lloyd L. Lee took time on Thursday, May 14, for a live-stream conversation on his work and latest book, Diné Identity in a Twenty-First-Century World.

Lee, an associate professor of Native American studies at the University of New Mexico, is the editor of three books with the Press that are part of a four-book series touching on important topics concerning Diné philosophies, nation-building, and identity.

The first book in the series, Diné Perspectives: Revitalizing and Reclaiming Navajo Thought, addresses questions on being Navajo, contemporary life and traditions, and more. The second book, Navajo Sovereignty: Understandings and Visions of the Diné People, Lee asks fellow Navajo scholars, writers, and community members to envision sovereignty for the Navajo Nation. The third and recent book, Diné Identity in a Twenty-First-Century World, explores the complexity of understanding and the richness of current Diné identities.

During the conversation, Lee shared what he anticipates to be the theme of the fourth book in the series–land and the environment. Many families and communities have experiences and stories on their connection to the land and how they live their life, he said. Similar to the book on sovereignty, Lee hopes to get many perspectives on the land and what the challenges are in a way that reflects the Diné people.

Five Questions with Beaule and Douglass on ‘The Global Spanish Empire’

May 4, 2020

The Global Spanish Empire tackles broad questions about Indigenous cultural persistence, pluralism, and place making using a global comparative perspective grounded in the shared experience of Spanish colonialism. Edited by Christine Beaule, and John G. Douglass, the volume’s eleven case studies include regions often neglected in the archaeology of Spanish colonialism. The time span under investigation is extensive as well, transcending the entirety of the Spanish Empire, from early impacts in West Africa to Texas during the 1800s. The contributors examine the making of a social place within a social or physical landscape.

Here, Beaule and Douglass discuss the book, and the unique approach of looking at Spanish colonization globally.

This book has a unique wide scale approach in looking at the colonial Spanish empire beyond the Americas. What drove you to bring this book together?

Christine Beaule: John and I proposed an electronic symposium for the SAA meetings in 2018 on ethnogenesis because we were both very interested in identity formation processes in Spanish colonial contexts. We ended up with 16 papers, and a very well attended symposium. The discussion between the participants and audience members that day was highly engaging and interesting. Winning the SAA-Amerind Foundation prize meant hard decisions about how to winnow the papers down to ten (plus an introduction), but our workshop at Amerind was one of the most personally and professionally rewarding experiences we have ever had. Everyone learned so much from each other, particularly about case studies and regions that we rarely bring into conversations about the archaeology of Spanish colonialism. Moreover, it quickly became apparent on day 1 of the workshop that our ethnogenesis theme was not going to work for the book. The opportunity to talk it through in person, and to put our heads together to work out new themes and a different organizational schema, was invaluable. We believe that the volume is much more cohesive and focused because of the process. From the electronic symposium through several days of working together in person on our chapters, without interruptions or distractions, the process was ideal.

John Douglass: Christine and I went to grad school together many years ago and had wanted to collaborate on something. We both have been researching different aspects of Spanish colonialism for quite some time in different parts of the world from one another, so it seemed like a good match to work on this project together. We both wanted to learn more about other parts of the Spanish Empire than what we were familiar with because, in the end, we wanted to learn more about the parts of the world we did know through comparison. The group of colleagues we worked with on this project really were fantastic as their work spans close to 500 years, and is situated all across the globe.

Why is it important to look at colonialism on a global scale?

Christine Beaule: There is much to learn from in-depth analyses of the impacts of colonialism in a single community or region. However, a comparative approach allows us to see patterns over a longer span of time, as well as bringing disparate regions into conversation with each other. In doing so, we gain perspective on local impacts and local agencies that would not be visible otherwise. As Americanists, John and I do not always have time to keep up with the abundant literature produced by our regional colleagues, let alone cutting edge scholarship about other colonized regions of the world. Comparative projects like this one help us see those all-important similarities and differences in the ways that Indigenous cultures were impacted by and responded to colonialism. Although we often speak of colonists and Indigenous communities in binary terms, each of these groups was itself multicultural, so identity categories such as native and Spanish are problematized when we take a global perspective. Finally, I think that it is important to include cases in which strong Spanish footholds were not successfully established, or where efforts to incorporate peoples in regions outside colonies failed. Although they’re harder to see archaeologically, they remind us that Spanish colonialism was not monolithic or homogeneous, and that its impacts on local religious practices, political organization, and economies were similarly varied in scope and kind. Scholarship in regions such as Central America, Africa, the U.S. southeast, Pacific and Caribbean islands, and the Philippines help us all see the full range of impacts and responses, in ways that focusing on single colonies or heartlands of colonialism do not.

John Douglass: This book focuses not just on the global scale, but the global scale through time, which is an important piece of the puzzle. Chris DeCorse’s chapter looks at the very early spread of Spanish colonialism in west Africa in the 1400s and the last chapter is Steve Tomka’s work looking at what is now southern Texas and northeastern Mexico, and all the other chapters in the book are in other portions of the globe between these two points in time. To me, one of the main utilities of looking globally is that we are able to have comparative viewpoints on the ebb and flow of Spanish colonialism and the diverse actions and reactions by indigenous peoples the Spanish worked hard to colonize (with mixed results). I was also so impressed at the way different chapters were able to communicate with one another due to this global approach. The cultural, linguistic, and social historical connections between the Pacific and South America, between the Philippines and Mexico, between Colombia and west Africa, and many more such examples in the book, all led to extremely interesting conversations.

How does this approach possibly change the way we look at the studies of colonization?

Christine Beaule: Work on this project and others like it has taught me to question assumptions and generalizations about colonialism and colonization. Living in Hawaiʼi, an island archipelago that was colonized and overthrown relatively recently by the U.S., colloquial conversations about colonialism and indigeneity are part of daily public life. The opportunities I have had to work with so many brilliant archaeologists studying Spanish colonialism around the world have equipped me to challenge others’ generalizations about European and American imperial histories. When we are able to see the failures of colonization efforts, the pluricultural actors in these histories, and patterns of cultural persistence through time, it teaches us to talk about colonialism in more nuanced ways. For me, that more nuanced understanding is a gift, one that I try to share with family, friends, students and colleagues here in Hawaiʼi, and one that I look forward to developing further in our next academic project. 

John Douglass: Again, to me, the comparative approach of our volume helps bring us to fresh and new ideas about Spanish colonialism and indigenous actions and reactions to it. I’ve done a lot of research on Spanish colonialism in Alta California over the years and my eyes have been opened up in numerous ways by learning more the Spanish colonial experience – including both successes and failures – in other parts of the world. California was relatively late in the sequence and by then the Spanish has honed their models significantly. At the same time, we see some of the same difficulties and gains that were previously experienced in other parts of the world.

Was the Spanish approach to colonization the same globally? How?

Christine Beaule: Oh my goodness, no! Like all imperial powers, the Spanish borrowed an imperfect model from others (in this case, the Portuguese in west Africa), and modified it over time. There were certainly patterns that colonial decision-makers in Europe and in local contexts outside of Iberia tried to impose. Spatial patterns in planned colonies in Central America and missions in Texas and Guam provide one set of examples. Restricted access to sartorial and other material goods under racialized sociopolitical hierarchies are another category. These impositions, like ideological elements of Catholicism, were imperfectly adopted or enforced. The realities of each situation throughout the empire, and through time, meant that translations of beliefs and practices were incomplete. Local geographies and resources (material, capital, and human) meant that outside ideals, categories and standards required modifications. And, of course, Indigenous resistance and cultural persistence meant that, like many other non-colonial cases of intercultural interaction, people did not simply passively substitute one culture for another. The Spanish approach to colonization, as a result of these and many other axes of variability, had to adapt. Even then, they often failed, or some of their successes (e.g., with planned communities) were short lived and incomplete.

John Douglass: To parallel Christine here, while the Spanish did try to adapt in different ways through time, it was a mixed bag in terms of methods and results. I think the Spanish were good, in some ways, in approaching their goals through the lens of the local perspective and situation, although, again, there were varied actions and courses within the same general region. In the case of the Maya, for example, early on the general theme was to do whatever the Spanish could to destroy Maya culture through, among other things, burning almost all examples of their bark paper books. Several hundred years later, the way the Spanish taught local indigenous populations in the highlands of Guatemala about Christianity was through understanding the local oral and written traditions and belief systems, and then recasting Christianity through those same local perspectives.  At the same time, like Laura Matthews and Bill Fowler’s example of Ciudad Vieja in San Salvador in the book, the Spanish did try to recreate colonies as they had elsewhere, with poor results.

Looking at all the contributions to this book, were there any surprises that surfaced in Spanish colonization?

Christine Beaule: … our journey began with a focus on documenting variability in processes of ethnogenesis. Once we got a subset of the original symposium’s participants together in a room, we collectively realized that our case studies (with only one exception) did not address ethnogenesis at all the way we were defining it narrowly! The two themes of the edited volume, place making and pluralism, emerged in the course of an intensive discussion of the points of overlap between chapter drafts. That rapid shift in focus informed the workshop discussions for the rest of our time together in Dragoon. I do not believe it would have been possible without the opportunity to work through these issues together, and so the book’s focus turned out to be the first big surprise.

The other surprise was just how powerful the concept of place making turned out to be for our comparative study of Spanish colonialism. We wrestled with conceptions of space and place that incorporated geographic, social, and agency considerations. What we all came up with is a theoretically powerful framework that helped us all to understand and explain patterns in material culture, diverse conceptions and uses of space, and the roots of Indigenous resistance and resiliency.

Because there were so many points of connection between all of the different case studies, despite big differences in their foci and details in their historical trajectories, we came to deeply appreciate how the two related themes wove all of the chapters together into a coherent whole. John and I are proud of both the journey and the final product. We treasure the friendships we fostered and the joy of pure intellectual exchange and growth that this book represents.

John Douglass: I think Christine makes good points. The only other thing I would add is that I was surprised as we discussed our draft chapters during our workshop at the Amerind Foundation how many interesting and pointed connections there were between papers: geographically, thematically, culturally, and the list goes on. This relates to one of my answers above. These connections were clear between the inhabitants of colonies and expeditions even in situations where they were separated vastly geographically or temporally. As one example of many, the papers by Chris DeCorse (west Africa) and Juliette Wiersema (western Colombia) are focused on two regions of the world thousands of miles apart and their papers analyze events hundreds of years apart. Yet, as we discussed the papers in the workshop, we all came to realize that the enslaved, and later freed, Africans working in mines and along the rivers of western Colombia Juliet wrote about were from the region Chris detailed in his paper. These kinds of surprising connections help us better understand the deep, and poignant, history of colonialism across the globe which have created complicated webs of relationships both in the past and present.

Five Questions with Guadalupe Correa-Cabrera and Victor Konrad

April 13, 2020

According to Guadalupe Correa-Cabrera and Victor Konrad, if ever there was a time to better understand the borders of North America, it’s now during a global pandemic crisis.

The editors of North American Borders in Comparative Perspective, recently published by the University of Arizona Press, said the pandemic has the potential to further change policies and life along both borders. Correra-Cabrera and Konrad, took time from their work, to talk about these growing border issues, their book, and the importance of learning more about both borders, not only our southern borderlands.

In North American Borders in Comparative Perspective, leading experts provide a contemporary analysis of how globalization and security imperatives have redefined the shared border regions of Canada, the United States, and Mexico.

This volume offers a comparative perspective on North American borders and reveals the distinctive nature first of the over-portrayed Mexico-U.S. border and then of the largely overlooked Canada-U.S. border. The perspectives on either border are rarely compared. Essays in this volume bring North American borders into comparative focus; the contributors advance the understanding of borders in a variety of theoretical and empirical contexts pertaining to North America with an intense sharing of knowledge, ideas, and perspectives.

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