Tag Archives: hispanic history

Cultural Literacy: Colonialism

Today begins National Hispanic Heritage Month 2020. For the next four Fridays, for The Weekly Text, Mark’s Text Terminal will observe the month by posting readings and comprehension worksheets related to the history of LatinX people in the United States and Elsewhere.

Here is Cultural Literacy worksheet on colonialism to start off the month. As I said to an interview committee the other day, we live in a pregnant moment that can, with (if you’ll allow me to play out this metaphor ad nauseum) proper prenatal care, yield real social change. If we are going to talk seriously about the injustices visited on non-white people the world over, we need to discuss colonialism seriously. In just about every respect, we are all dealing with the legacy of colonialism–and the time has come–now–to reckon with it. We neglect to do so at our intellectual and moral peril.

If you find typos in this document, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

Media Art

“Media Art: When ‘media’ refers to the mass media rather than to a particular art medium, this term refers to a trend in art production that involves the representation of representations, i.e., the depiction or deconstruction of mainstream images of those societal groups traditionally marginalized and depicted as stereotypes (e.g., African-Americans, Hispanics, Asian-Americans, gays and Lesbians). It has also come to include works appearing in mass media spaces, such as those usually reserved for advertising. Jenny Holzer’s fake television commercials on MTV are directed to an audience that might never enter a museum.”

Excerpted from: Diamond, David G. The Bulfinch Pocket Dictionary of Art Terms. Boston: Little Brown, 1992.

Lightening, (pp), Lightning (n)

If I were to guess, I would say that the present participle of to lighten, lightening, is not much used in everyday discourse. That said, I heard a report earlier this summer on NPR about how the  Black Lives Matter movement in the United States has inspired a discussion about colorism and skin lightening potions in India, where colorism apparently runs rampant. Also, if you ever teach Julia Alvarez’s superb novel In the Time of the Butterfliesit makes at least one specific reference to relatively well-known fact that the dictator of the Dominican Republic from from 1930 to 1961, Rafael Trujillo, used skin-lightening cream and was, unsurprisingly, a virulent racist who slaughtered thousands of Haitians in the infamous Parsley Massacre. In fact, there is even a Wikipedia page on Colorism in the Caribbean if you are interested.

Such are the wages, I’m afraid, of the valorization and privileging of white skin.

So, this set of five worksheets on the homophones lightening and lightning might be more of an exercise in ensuring students understand what the lightning is as a meteorological and electrical phenomenon and how properly to spell the word. Still, there is room in these worksheets for fooling around with the verb to lighten, used both intransitively and transitively.

If you find typos in these documents, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

Lusterware

“Lusterware: A Middle Eastern luxury item brought to Spain in the late 10th century. Muslim artisans produced iridescent ceramic glazes that appeared as metallic silver, copper, or gold. In the 15th century lusterware tiles and dinnerware were commissioned throughout Europe by princes, cardinals, and popes. Decorative elements included their heraldic emblems along with Moorish signs and symbols.”

Excerpted from: Diamond, David G. The Bulfinch Pocket Dictionary of Art Terms. Boston: Little Brown, 1992.

A Documents-Based Questioning (DBQ) Lesson on The Popol Vuh

OK, we made it! This lesson plan on The Popol Vuh, the creation myth of the Quiche Maya, which brings us back to the first lesson in this unit on the Rig Veda, below. This is, then, the tenth of ten lessons (and the tenth of ten posts, therefore) in a global studies document-based questioning unit on reading, analyzing, and interpreting primary historical documents.

The short do-now exercises that I have for this lesson are arguable only tangentially related, but are useful parts of a general inventory of global studies work. These are two Cultural Literacy worksheets: the first is this half-page reading and writing exercise on colonialism and the second is this full-page worksheet on Pancho Villa, the Mexican revolutionary general.

And, lastly, here is the reading on The Popol Vuh with its accompanying comprehension questions to take teacher and students through the lesson.

If you find typos in these documents, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

Term of Art: Marxism

“Marxism: Provides an analysis exposing the social relations that operate in the production of material goods. Marxist art critiques demystify the relationship between artists and patrons, demonstrating who supports whom and why. By exposing the market forces weighing on artists, such an analysis demonstrates how both aesthetic and monetary value may be ascribed to artworks (see commodification). As a political ideology, it has influenced the modern muralists Diego Rivera and Jose Clemente Orozco as social realists. Recently, Hans Haacke has created Marxist artworks exposing pervasive corporate sponsorship in the art world.”

Excerpted from: Diamond, David G. The Bulfinch Pocket Dictionary of Art Terms. Boston: Little Brown, 1992.

Social Realism

“Social Realism: A trend in 20th-century art before 1950. Often political in nature, social realism is distinctive in its realistic depictions of the ills of society. The influence of Mexican muralists Diego Rivera, Jose Clemente Orozco, and David Alfaro Siqueiros was felt by North American social realist and WPA artists. Some North Americans emerged from the Ashcan School, while others, like Ben Shahn, evolved separately.”

Excerpted from: Diamond, David G. The Bulfinch Pocket Dictionary of Art Terms. Boston: Little Brown, 1992.

Ignacio Manuel Altamirano

Ignacio Manuel Altamirano: (1834-1893) Mexican novelist and poet. A full-blooded Indian, Altamirano was an adherent of Benito Juarez and fought against the French intervention in Mexico. In 1869, he founded Renacimiento, a review to encourage literary activity, almost moribund after fifteen years of turbulence. He became the mentor of the younger generation, to whom he advocated the importance of creating a literature rooted in national life. His poetry consists of a single volume of Rimas (1880), written before 1867 and notable for its description of the Mexican landscape. Altamirano’s preoccupation with purely Mexican themes and customs is also evident in the prose works for which he is best known: Clemencia (1869), a love story set against the background of the French intervention; La navidad en las montanas (1870), a novelette; and El Zarco (1901), a novel dealing with bandits in the state of Morelos.”

Excerpted from: Murphy, Bruce, ed. Benet’s Reader’s Encyclopedia, Fourth Edition. New York: Harper Collins, 1996.

The Weekly Text, October 18, 2019, Hispanic Heritage Month 2019 Week V: A Reading and Comprehension Worksheet on Pueblo Civilization

This week’s Text, in the ongoing observation of Hispanic Heritage Month 2019 at Mark’s Text Terminal, is a reading on Pueblo Civilization and the vocabulary-building and comprehension worksheet that accompanies it.

As I am wont to do, I debated with myself the relevance of Pueblo Civilization to Hispanic Heritage. I’m confident that these first nation peoples were part of the same ethnic group as the Mayans–who of course became a subject population to the Spanish Empire. In any case, if anyone with the bona fides to do so could weigh in on this, I would of course be grateful.

If you find typos in these documents, I would appreciate a notification. And, as always, if you find this material useful in your practice, I would be grateful to hear what you think of it. I seek your peer review.

Altamira

“One of the finest painted caves, and also one of the first to be discovered (in 1879). The site is south of Santander, in northeast Spain, and is famous for its polychrome animals [40], which include deer, bison, and wild boar painted in red, black, and a range or earth colors. Most of the art in the caves was produced by Magdalenian peoples.”

Excerpted from: Bray, Warwick, and David Trump. The Penguin Dictionary of Archaeology. New York: Penguin, 1984.