CHS 419 AztlÁn Tonatiuh: Indigenous time, Synchronicity, Sacred MUSIC anD DANCE

Course Information Overview

• The Mesoamerican Long Count calendar, notably used by the Maya and Aztec civilizations among others of pre-Hispanic Mexico, completes its thirteenth b’ak’tun cycle since the calendar’s mystical starting point (equivalent to August 11, 3114 BC in the proleptic Gregorian calendar). Will the dreaded date of December 21, 2012 be an apocalyptic doomsday or will it introduce an new era of enlightenment and peace for humanity? This date figures prominently in the religious syncretism of New Age Mayanism which was recognized by young Chicana/o activists during the 1960s Civil Rights Struggles in the United States. This course examines the early philosophical writings, and neo-Mayan spiritualism by Chicano playwright Luis Valdez and Mexican historian Miguel León Portilla’s classic work on time and reality in the thought of the Maya. At the same time this course looks to Chicana/o, Latina/o, and Indigenous and Afro-Latin/o music, dance, ritual, performance, pedagogy, transculturation, and queer/mestizaje (critical race) studies in an exploration of indigenous and mestizo notions of chronology, rhythm, time, calendars, and choreography.

• The Mayan calendar’s “end date” of 2012 seems to define our present age. 2012 is expected by some believers to be a great year of spiritual transformation (or alternatively an apocalypse). There is disagreement among believers as to whether 2012 will see an end of civilization, or humanity will be elevated to a higher level. Astronomers have determined that on this date, there will be an extremely close conjunction of the northern hemisphere winter solstice sun with the crossing point of the Galactic equator, an event that will not be repeated for thousands of years. 2012 heralds the end of one way of existence and the return to another, in which the serpent god Quetzalcoatl reigns anew, bringing with him an unimaginably ancient yet, to us, wholly new –way of living. 2012 is a monumental date in world history and may prove to be epic to humanity. Students will read current literature, ethnographic case studies of dance, festival, and ritual, performance, third world feminism, queer studies and critical pedagogy. CHS 419 encourages creativity and critical thinking, public speaking and performance and is designed as a "hands on" arts workshop for students with a courageous imagination, sense of humor, curiosity in life, and interest in things which are unexplainable using Western reason and Eurocentric logic.

Course Description

Aztec, Anasazi, and Mayan mythology, prophecies, and consciousness are examined, discussed, and experienced through traditional culture, sacred, folk, and popular music and dancing, ritual observance, and indigenous festival and pilgrimage. Indianized Catholicism and ritual activism are studied throughout Mexico, the Caribbean, North America, and the Southwest Borderlands. Enrollment involves a commitment to regular class and concert attendance, written short essays and music assignments, informed group discussions, critical thinking, and participation in and attendance of musical performance. Fluency in Spanish is useful but not required.

Unfortunately, too many critics believe that Chicana/o Studies is where the brown and poor students learn to HATE white people. Nothing could be further from the truth than this mythology and anti-Latino propaganda that is promoted by neo-conservative, right-wing Anglo-American pundits and radio talk show hosts like Fox News’ Glen Beck, Sean Hannity, Ann Coulter, and Rush Limbaugh destroying any possibility of civil debate and social discourse. We will reconsider the ancient indigenous Mayan concept “In Lak Ech” meaning we are one as the ultimate principle of spiritual love and a foundational philosophical concept for Chicana/o Studies which was introduced early on during the Civil Rights struggle by Neo-Maya playwright and Yaqui-Chicano activist Luis Valdez. In his multilingual poetic manifesto "Pensamiento Serpentino," Valdez calls for a nonviolent revolution and shift in political consciousness. In this essay Valdez writes: “To be CHICANO is (NOT) to hate the gabacho or the gachupín or the pobre vendido. . . To be CHICANO is to love yourself, your culture, your skin, and your language . . . And once you become CHICANO that way you begin to love other people otras razas del mundo. . .because they need us more than we need them” (1994, 175). In this way, the label Chicana/o is neither limited to U.S. born Hispanics or Latinas/os or to people of exclusively Mexican and/or Central American heritage born in the United States. Instead, to call oneself Chicano requires a serious and lifelong commitment to social justice and civil right struggle which we hope to develop in this undergraduate seminar.

Recommended Reading: Don Miguel Ruiz The Four Agreements: A Toltec Wisdom Book

Be Impeccable With Your Word- Speak with integrity. Say only what you mean. Avoid using the word to speak against yourself or to gossip about others. Use the power of your word in the direction of truth and love.

Don't Take Anything Personally - Nothing others do is because of you. What others say and do is a projection of their own reality, their own dream. When you are immune to the opinions and actions of others, you won't be the victim of needless suffering.

Don't Make Assumptions- Find the courage to ask questions and to express what you really want. Communicate with others as clearly as you can to avoid misunderstandings, sadness, and drama. With just this one agreement, you can completely transform your life.

Always do your Best- Your best is going to change from moment to moment; it will be different when you are healthy as opposed to sick. Under any circumstance, simply do your best, and you will avoid self-judgement, self-abuse, and regret.

Extra Credit: Mirror of Life Spread -using Victor Sanchez's The Toltec Oracle prepare a consultation with the oracle giving you a general vision of where you are and where you are going in each area of your life: mati (mind), teyoli (emotions), teotl (spirit), tonakatl (body), and yolotl heart. This is an entertaining way to learn the Tonalpohualli and the ruling deities. Synthesize your reading and record your experience on your Moodle profile giving the seminar a glimpse into the meaning on the various quadrants of the Cross of Quetzalcoatl (see p. 39 for directions) and provide a brief in-class overview (5 points for posted reading on moodle profile/ brief in class presentation). You may check out the Toltec Oracles for one week at a time but must return it the following week. The questions that you ask do not need to be included on your profile.

Course Prerequisites

CHS 418 will rely on and utilize the universitie's newest classroom technology. Students must sign up for moodle and set up online class profile: Moodle http://moodle.csun.edu. If you have never used this technology, see http://docs.moodle.org to access moodle and to learn how to navigate this program. Students should check grades, announcements, chat-rooms, forums, events, links, quizzes, and study guides which will be posted weekly on Moodle. If you have any problems, see the CSUN moodle web site for suppporting documentation and other resources. Please read Peter Garcia's web page and online syllabus beforehand and read the CSUN Student Conduct Code and Academic Policy before the second week of class.

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Student Learning Objectives

Course Objectives:

• To introduce students to indigenous Maya, Aztec, Yoemi (Yaqui), Pueblo (Hopi) and Anasazi concepts of time and synchronicity (b’ak’tun, Haab, Wayeb, Tzolk’in, k’in, winal, tun), mythical homeland (Aztlán), resistance and camouflage (disimulo), ceremony and fiesta (waehma), ritual (danza), ancestors (kachina), philosophy (In Lak Ech and palabra), cardinal directions (akatl, tekpatl, calli, and totchli), in addition to music, dance, and relations between humans, nature, sound, space, and technology (koyanaskatsi, powaqqatsi, naqoyqatsi) as a means of achieving balance and social equality.
• To examine critically western calendrics such as the proleptic Gregorian and Julian time systems as central to colonization and subjugation of indigenous people and consider how mestizo, mulatto, and indigenous music and dance emancipate the mind, body, and spirit.

 

Grading

Grade Break Down:

10 points 2 musical/dance/indigenous ritual/folk Catholic event reports (5 points each 4 pages) or 1 detailed paper over any festival, concert, or performance event. Papers should show what you read from assigned readings with quotes, theory, and works cited.

25 points final research paper

15 points 3 group presentations/power point presentations with study guide/outlines over reading assignments, theory, vocabulary, methods and discussion questions.

50 points (midterm 25/ final exam 25)

Total: 100 points

Required Event Attendance and Final Research Papers

Concert Attendance and Reports:

Attendance of two musical, ritual, or dance events such as spiritual observances, pilgrimages, protest dances, folklorico rehearsals; lectures on related course topics with written critiques (no less than 2 entire double spaced pages minimum with evidence of attendance including flyer, ticket stub, newspaper announcement, program or photographs) is required.

Research papers must be at-least 2,500 words (8-12 pages) including analysis in order to earn a passing grade in this class. In order to earn the highest mark on your final project-you should plan on interviewing a danzante, musico, curandero, community leader, indigenous elder or expert for your research paper. The interview should provide insight directly relevant to your topic and substantial quotes from the interview must be present in your paper. An “A” quality research paper must also have a thesis that states a proposition that is then explored via research and presented in class. Your essay should also begin with an introduction describing the topic, why you chose it, and stating your specific thesis. The paper should also explain specific information and indigenous knowledge and provide a theoretical framework illustrating important ethnohistorical details, indigenous concepts, or performance points. The paper should end with a conclusion that revisits the original thesis, reflects upon what you learned via the research about the connection between indigenous time, world view, dance, music and culture and how the experience has impacted or altered your views and changed you or your group as people. A bibliography will be provided showing that a variety of sources including your textbooks with at least 5 encyclopedias, books, and articles were used. Your paper must also use materials such as quotes, theory, ideas from your course textbooks and articles. Be sure to critique any internet or online sources regarding accuracy, reliability, and who posted material and for what purpose.

 

Discussion Leaders

Discussion Questions: For most class meetings, a pair or group of students will make a class presentation over assigned literature or participate in small group artistic project while studying the role of the arts in political activism and society. Students will prepare a 5 to 6 slide powerpoint presentation leading the class in a group discussion over the reading assignment which will also be posted on Moodle. Please label the file with your last name followed by (student number) and title of the article you are covering. The first slide should include your name, class information and the full citation of the article or chapter you are presenting. Title (in quotes), author's name, and book or volume title (italicized) should all be centered. The second slide should include a brief overview of the article and some meaningful quotes. The remaining slides ought to explain vocabulary, illustrate important concepts, or review and critique various theories used in the scholarly analysis. Your presentation should also include important internet links, photos, audio footage, youtube, or additional media and cool video files that are related to the case studies or illustrate the cultural and art forms you are presenting. Your final slide may include some of the discussion and study questions provided in the syllabus or you may prepare new questions with class discussion open for general platica (conversation).

Class Participation and Attendance

Class Participation and Attendance: Participation and attendance is extremely important. Absences, arriving late to class, immature, disrespectful and disorderly conduct and lack of participation will have a considerable effect on your grade. Asking questions and requesting clarification or elaboration of readings is considered participation and is highly encouraged. If a student is late, it is his/her responsibility to let professor know after the class, so that the professor does not mark him/her absent.

12-15 points= participates almost every class meeting, regularly and consistently

8-12 points = participates often, but not consistently

4-8 points = participates occasionally

0—4 points = participates rarely or not at all

Course Schedule

Course Calendar

Week 1 Aztec, Maya, Anasazi, and Inca Overview

Day 1: Introduction, Syllabi, Course Requirements

View: The History Channel: Doomsday 2012: End of Days

View: Carl Sagan on the Anasazi People’s Calendrical Devices

http://www.youtube.com/watch?v=Yw1plQa5-Hs

Week 2 Introduction and Mayan Chronology

Day 2: Mayan Chronology and Aztec Music (Time Passage)

Read: Introduction: “La Plebe,” Pp. xiii-xxxiv by Luis Valdez in AZTLAN: An Anthology of Mexican American Literature

Recommended Read: “Introduction” Pp. xiii- xxiii in Dancing Across Borders: Danzas y Bailes Mexicanas

Read: “Introduction” Pp. IX-XII by Tami Simon, “Choice Point: Our Date with the Window of Emergence” Pp. 1-16 by Gregg Branden, “A Singularity of Time” Pp. 17-33 by Peter Russell in The Mystery of 2012: Predictions, Prophecies, and Possiblities

Read: Royball, Jimmy Newmoon “Danza” (pp. 218-220) in the Enyclopedia of Latino Popular Culture 2004, Volume 1. Connecticut: Greenwood Press. Cordelia Candelaria, Arturo Aldama and Peter J. Garcia, editors.

Vocabulary: Los Voladores, Quetzalcoatl, Totonac, La Fiesta de San Salvador, huipil, maxtli, penacho

Study Questions: Take note of the Anasazi and the Mayan calendars as a prophetic and historical instrument in addition to marking time. Which Native Indian group performs “los Voladores” and during which festival (explain the legend, place and date)? What is the choreographic, spiritual, and cultural meaning and importance of this dance? Describe the music including instruments, rhythm, choreography, symbolism, context, and gender roles of dancers and musicians. Provide some details regarding the costume based on Newmoon Royball’s article. Where is death located according to Aztec worldview and in what type of geometrical formation do the danzantes perform? In which direction do the dancers move? Explain why?

View: Pacho Lane Danza Trilogy: “Tree of Life”

Day 3: Mayan Semiotics, Aztec Music and Danza

Read: “Maya Symbols and Expressions of Time” in Time and Reality in the Thought of the Maya.

Read: John Major Jenkins “The Origins of the 2012 Revelation” Pp. 37-66 in The Mystery of 2012: Predictions, Prophecies, and Possiblities

José Argüelles “The Mayan Factor: Path Beyond Technology” Pp. 67-80 in The Mystery of 2012: Predictions, Prophecies, and Possiblities

Gabriel Estrada “The “Macho” Body as Social Malinche” Pp. 41-62 in Gaspar de Alba’s Velvet Barrios: Popular Culture and Chicana/o Sexualities

Week 3 Indigenous Time, Acculturation, and Ritual Space

Day 4: Time and the Divine

Read: “Time as an Attribute of the Gods” in Time and Reality in the Thought of the Maya.

Discussion Leaders:

Renée de la Torre Castellanos “Embodied Recuperations: Performance, Indigenous Line of Descent” in Dancing Across Borders: Danzas y Bailes Mexicanas

Maria Teresa Ceseña “Creating Agency and Identity in Danza Azteca” in Dancing Across Borders: Danzas y Bailes Mexicanas

View: Danzante: The Living Tradition by Miguel Grunstein and Dale Kruzic Alexander, Virginia PBS Video 1992.

Day 5: The Yaqui Waehma: Ritual Ceremony

Read: (Broyles-González) “Indianizing Catholicism: Chicana/India/Mexicana Indigenous Spiritual Practices in Our Image” Pp. 117-132 in Cantú and Nájera-Ramírez’s Chicana Traditions: Continuity and Change

Discussion Leaders:

Study Questions: How are Christian elements such as the cross, trinity, Jesus mixed or integrated into Native American beliefs and spirituality? Describe the Yaqui Waehma and the various symbols used within the ritual. What does Broyles-González mean by disimulo?

Vocabulary: Waehma, disimulo, sabíla, bendicíon, santas animas, mandas, promesas, Doña Sebastaina

View: “Pilgrimage to a Party” - The Desert Speaks Episode 1511. PBS.

Week 4: Enter the Labyrinth: Dance Mediating Koyaanisqatsi

Day 6: Musical Time, Ritual Space, and Dance Steps

Read: “Time and Space” in Time and Reality in the Thought of the Maya by Miguel León Portilla

Discussion Leaders:

Carl Johan Calleman “The Nine Underworlds: Expanding Levels of Consciousness” Pp. 81-92 in The Mystery of 2012: Predictions, Prophecies, and Possiblities

Robert K. Sitler “2012 and the Maya World” Pp. 93-116 in The Mystery of 2012: Predictions, Prophecies, and Possiblities

Ervin Laszlo “The Birthing of a New World” Pp. 117-132 in The Mystery of 2012: Predictions, Prophecies, and Possiblities

View: Koyaanisqatsi: Life out of Balance by Godfrey Reggio (1982)

Recommended View: Powaqqatsi: Life in Transformation (1988) and

Naqoyqatsi: Life as War (2002)

Day 7: Human Relations to Time

Read: “Man in the Universe of Kinh” in Time and Reality in the Thought of the Maya.

Discussion Leaders:

John L. Petersen “Getting to 2012: Big Changes Ahead” Pp. 133-144 in The Mystery of 2012: Predictions, Prophecies, and Possiblities

Karl Maret “The Mystery of A.D. 2012” Pp. 145-170 in The Mystery of 2012: Predictions, Prophecies, and Possiblities

Corinne McLaughlin “2012: Socially Responsible Business and Nonadversarial Politics” Pp. 171-196 in The Mystery of 2012: Predictions, Prophecies, and Possiblities

Recommended Reading: Griffith, James S.

• “Yaqui Matachines” at www.nmarts.org/matachines/essays.php?p=griffith.

Week 5: Peruvian Indian Musics and Aztlán: El Otro Mexico

Day 8: Casta: Peninsulare, Criollo, Mulatto, Negro, Indio, Mestizo, Chicano

Brenda M. Romero "The Matachines Danza as Intercultural Discourse" in Dancing Across Borders: Danzas y Bailes Mexicanas

Norma E. Cantú “The Semiotics of Land and Place: Matachines Dancing in Laredo, Texas” in Dancing Across Borders: Danzas y Bailes Mexicanas

Peter García “Bailando Para San Lorenzo: Nuevo Mexicano Popular Traditional Musics, Ritual Contexts, and Dancing during Bernalillo Fiesta Time” in Dancing Across Borders: Danzas y Bailes Mexicanas

Recommended Reading: Aguilera, Miguel Olmos

• “La ethnomusicología y el noreste de México” en Descatos 12 (otoño): 45-61.

Day 9: Third World Chicana and Indigenous Feminisms

Jay Weidner “The Alchemy of Time: Understanding the Great Year and the Cycles of Existence” Pp. 197-216 in The Mystery of 2012: Predictions, Prophecies, and Possiblities

John Lamb Lash “Mayan Stelae and Standing Stones: 2012 in Old and New World Perspectives” Pp. 217-226 in The Mystery of 2012: Predictions, Prophecies, and Possiblities

Adriana Cruz-Manjarrez "Dancing to the Heights: Performing Zapotec Identity, Aesthetics, and Religiosity" in Dancing Across Borders: Danzas y Bailes Mexicanas

Xóchitl C. Chávez “La Feria de Enero: Rethinking Gender and Ritual in Festival” in Dancing Across Borders: Danzas y Bailes Mexicanas

Week 5 El Otro México

Day 10: Danza Azteca, Concheros, and Los Voladores

(Rodríguez) "Queering the Homeboy Aesthetic" Pp. 127-137 in Aztlán: A Journal of Chicano Studies 31:2 (Fall 2006) (on-reserve).
Check Out: Hector Silva on-line gallery (*homoerotic sexuality and nudity)

Arjuna Ardagh “The Clock is Ticking” Pp. 227-242 Jay Weidner “The Alchemy of Time: Understanding the Great Year and the Cycles of Existence” Pp. 197-216 in The Mystery of 2012: Predictions, Prophecies, and Possiblities

John Lamb Lash “Mayan Stelae and Standing Stones: 2012 in Old and New World Perspectives” Pp. 217-226 in The Mystery of 2012: Predictions, Prophecies, and Possiblities

Day 11: Indigenous Sexuality and Chicano Popular Culture

Llewellyn Vaughan-Lee “An Awakening World” Pp. 267-280 in The Mystery of 2012: Predictions, Prophecies, and Possiblities

Janosh “2012: The Start of a New Era” Pp. 281-290 in The Mystery of 2012: Predictions, Prophecies, and Possiblities

Week 6 Danzantes and Indigenous Identities

Day 12: Recuperation and Performance

Christine Page “A Time to Remember: Welcome to the Greatest Show on Earth” Pp. 291-308 in The Mystery of 2012: Predictions, Prophecies, and Possiblities

Sharron Rose “2012, Galactic Alignment, and the Great Goddess: Reflections of Isis and the Sacred Science of the Egyptians” Pp. 309-328 in The Mystery of 2012: Predictions, Prophecies, and Possiblities

Valdez, Luis (1995) "Pensamiento Serpentino" and Valdez' s "Notes on Chicano Theater" and "Actos" Pp. 6-13 (on e-reserve).

Gloria Anzaldúa, “The Homeland, Aztlán/El Otro México” pp. 23- 35 in Borderlands/La Frontera: The New Mestiza

Day 13: Festival, Gender, and Ritual

Geoff Stray “The Advent of the Post-Human Geo-Neuron” Pp. 329-348 in The Mystery of 2012: Predictions, Prophecies, and Possiblities

Daniel Pinchbeck “How the Snake Sheds its Skin: A Tantric Path to Global Transformation” Pp. 349-366 in The Mystery of 2012: Predictions, Prophecies, and Possiblities

Marie “Keta” Miranda “Dancing to “Whittier Boulevard”: Choreographing Social Identity” in Dancing Across Borders: Danzas y Bailes Mexicanas

Gloria Anzaldúa, "Movimientos de rebeldía y las culturas que traicionan" Pp. 37-46 in Borderlands/La Frontera: The New Mestiza.

Week 8 Midterm

Day 14: Exam 1

Day 15: Baile Folklorico/Danza Workshop

View: Xcaret de Noche: Noche Espectacular en el Gran Tlachco by Francisco Córdova

or: Canciones de mi Padre: A Romantic Evening in Old Mexico (1992) Linda Ronstadt

Week 9 Chicano Music and Dance Culture

Day 16 Baile Folklórico and Chicana/o Identity

Jean Houston “Jump Time is Now” Pp. 367- 378 in The Mystery of 2012: Predictions, Prophecies, and Possiblities

Barbara Marx Hubbard “A Vision for Humanity” Pp. 379-388 in The Mystery of 2012: Predictions, Prophecies, and Possiblities

Susan Cashion “The Mexican Danzón: Restrained Sensuality” in Dancing Across Borders: Danzas y Bailes Mexicanas

Day 17 Chicano Performances

Guillermo Gomez-Peña “In Defense of Performance” Pp. 19-45 in in Ethno-Techno: Writings on Performance, Activism, and Pedagogy.

Genaro M. Padilla, “Myth and Comparative Cultural Nationalism: The Ideological Uses of Aztlán” pp. 111-134 in AZTLÁN: Essay on the Chicano Homeland

Week 10: Barro Rojo

Day 18:

Meg Blackburn Losey “2012 Awakening to Greater Reality” Pp. 389-402 in The Mystery of 2012: Predictions, Prophecies, and Possiblities

Joanna R. Macy “The Great Turning as Compass and Lens” Pp. 403-410 in The Mystery of 2012: Predictions, Prophecies, and Possiblities

Nancy Lee Chalfa Ruyter “Gender as a Theme in the Modern Dance Choreography of Barro Rojo” in Dancing Across Borders: Danzas y Bailes Mexicanas

Day 19:

Alberto Zárate Rosales "Traditional Dances of the Sierra Norte of Puebla; Identity and Gender Relations" in Dancing Across Borders: Danzas y Bailes Mexicanas

Gloria Anzaldúa, "Entering into the Serpent" Pp. 47-62 in Borderlands/La Frontera: The New Mestiza.

Week 11 Dancing as Culture

Day 20: Dancing Cultures: folklórico and danzón

Martha González “Zapateado Afro-Chicano Fandango Style; Self Reflective Moments in Zapateado” in Dancing Across Borders: Danzas y Bailes Mexicanas

Gloria Anzaldúa, "How to Tame a Wild Tongue " Pp. 75-86 and "Tlilli, Tlapalli/The Path of the Red and Black Ink" Pp. 87-98 in Borderlands/La Frontera: The New Mestiza

Gloria Anzaldúa, "La Conciencia de la mestiza/Toward a New Consciousness" Pp. 99-120 in Borderlands/La Frontera: The New Mestiza

Day 21: Afro-Caribbean Music History and Dances

View: Roots of Rhythm with Harry Belafonte (1989)

Week 12 Dance as Tradition and Musical Innovation

Day 22 Gender and Dance

Shakina Nayfack "Por Qué Estás Aquí?: Dancing through History, Identity, and the Politics of Place in Butoh Ritual Mexicano" in Dancing Across Borders: Danzas y Bailes Mexicanas

José Sánchez Jiménez "El Baile de los Elotes: The Corn dance" in Dancing Across Borders: Danzas y Bailes Mexicanas

Guillermo Gomez-Peña “On the Other Side of the Mexican Mirror” Pp. 5-18 in Ethno-Techno: Writings on Performance, Activism, and Pedagogy.

Day 23 Afro-Caribbean Music, Dances, and Popular Culture

View: Roots of Rhythm with Harry Belafonte (1989)

Week 13 Queering Mestizaje

Day 24 Cultural Politics

Read: Alicia Arrizon "Introduction: The Cultural Politics of "Queering" Mestizaje" Pp. 1-16 in Queering Mestizaje: Transculturation and Performance.

Read: Chapter One "Borders of Latinidad and Its Links to Mestizaje" Pp. 17- 48 in Queering Mestizaje: Transculturation and Performance.

Day 25 The “Latin” Craze: Afro-Caribbean Music and Dance Today

Read: Alicia Arrizon Chapter Two "Imaginary Spaces: Aztlán and the "Native" Body in Chicana/o Feminist Cultural productions" Pp. 49- 82" in Queering Mestizaje: Transculturation and Performance.

James Robbins “The Cuban Son as Form, Genre, and Symbol” in the Latin American Music Review, Vol. 11, No. 2 (Autumn/Winter 1990)

Discussion Leaders:

Week 14: The Mulata Body

Read: Alicia Arrizon Chapter Three "Rolocating the Mulata body: Beyond Exoticism and Sensuality" Pp. 83-118 in Queering Mestizaje: Transculturation and Performance.

Chapter Four "The Filipino Twist on Mestizaje and Its Gendered Body" Pp. 119-154 in Queering Mestizaje: Transculturation and Performance.

Day 27 Afro-Caribbean Music and Dance

View: Roots of Rhythm with Harry Belafonte (1989)

Read: Chapter Five "Epistemologies of "Brownness": Deployments of the Queer-Mestiza Body" Pp. 155- 186 in Queering Mestizaje: Transculturation and Performance.

Week 15 Afro-Chicano Dance: Fandango, Son Jarocho, and Zapateado

Day 28 Afro-Chicano Fandango

Final Projects and Performances

View: Salsa: Latin Music in the City (1979) by Jeremy Marre.

Day 29: Afro-Puerto Rican Salsa

Jorge Duany “Popular Music in Puerto Rico: Toward an Anthropology of Salsa” in Latin American Music Review Vol. 5, No. 2 (Autumn 1984).

Discussion Leaders:

View: Salsa: Latin Music in the City (1979) by Jeremy Marre.

Final Exam Review