Member Clara Roman-Odio shares this announcement of her newly published book and link to video interview on it:

Sacred Iconographies shows how Chicanas look beyond local histories and confront new asymmetries produced by transnational systems in the era of globalization. Empowered by the rich traditions of their indigenous spiritualities, Chicanas expose the failures of these systems that claim to pursue the betterment of all, while actually remaining indifferent to, or possibly ignorant of, the poor of color and the poor around the globe. By centering the discussion on these spiritual traditions, sometimes elided or glossed over by scholarship, in spite of the fact that they are fundamental to Chicana literature and art, Sacred Iconographies offers an innovative feminist framework for Chicana studies—a framework that aims to develop new critical lines in cross-cultural research within the U.S. and beyond.

Interview with Clara Román-Odio
Blurbs:

“This landmark publication advances the fields of de-colonial liberation, divinity, and cultural studies. In these pages our guides are ‘anti-icons’ who stand against systems of domination, the divine mothers Tonantzin, Mary, Coatlaxopeuh, the Virgin de Guadalupe, the feminine and the matrilineal, here to teach us twenty-first-century spiritualties of dissent. Today these figures are facilitating an emerging planetary culture that functions beyond and without borders. This book’s method makes their presence visible – but only if readers are able to think in and through a de-colonizing feminism that is at once spiritual, political, global, and Chicana.” – Chela Sandoval, author of Methodology of the Oppressed

“Sacred Iconographies in Chicana Cultural Productions examines methodological and pedagogical strategies for understanding how La Virgen de Guadalupe has served and continues to serve as a venue for artistic and literary expressions of Chicana feminist ways of knowing.” – Josie Méndez-Negrete, Associate Professor, Mexican American Studies, College of Education and Human Development, University of Texas at San Antonio, USA

By Angela Onwuachi-Willig
Featured at The Chronicle

Excerpted from Presumed Incompetent: The Intersections of Race and Class for Women in Academia, ed. Gabriella Gutiérrez y Muhs, Yolanda Flores Niemann, Carmen G. González, and Angela P. Harris, Utah State University Press, 2012).

Silence as Action
As an untenured professor, I learned firsthand about the power of silence by observing the conduct of a senior male colleague of color at the first law school where I worked. I recall my initial surprise at his silence during most faculty meetings, especially given his stature as a highly respected faculty member. His silence stood in stark contrast to the frequent speech of many of our white, male senior colleagues, some of whom voiced their opinions on every matter—repeatedly. I wanted to learn from my colleague’s opinions, but, in the end, I learned more from his silence. As I watched him throughout the year, I understood that his silences were, at least in part, strategic. They gave him a powerful voice when he spoke in public settings. I later learned that he did much of his speaking outside of the public faculty eye—in private.

Through him, I learned that we have to become comfortable enough with silences to know when to read them and nurture them into spoken voice. As the legal scholar Dorothy Roberts said in her article “Paradox of Silence”: “One possibility is that by employing silence, the professor subverts the dominant style of speech in law-school classrooms. By breaking through the fast-paced aggressive banter, typically dominated by white, male students, silence allows less aggressive students of color to compose their thoughts and to participate.” Undoubtedly, silence can be powerful. But when are the silences harmful? And how can such harm be prevented?

The Harmful Effects of Silence
We—female faculty of color—can be silenced in many aspects of our job. We can be silenced through our difficulties in saying no to extra service burdens that involve diversity, especially where we know our voices will not otherwise be represented; or through our shame in talking about the daily biases we face in the classroom, biases that are often invisible to white colleagues; or through our feelings that we are impostors in the academic world. We have to ask ourselves, How can we balance the act of not speaking without losing self and yet speak without losing the game?

Read complete excerpt at the Chronicle here

By Nicole Guidotti-Hernandez
For The Feminist Wire (10/23/12)

Is it a coincidence that Disney launched the promotional campaign for its first Hispanic Princess Sofia weeks before the 2012 Presidential election? Maybe. But I can’t help but ponder the larger implications of thinking through “Hispanic” activists being “pissed” about the new Disney princess not debuting in a feature film without linking it to Obama’s fluctuating position on immigration.

In a time of crisis, where numerous Latino children and their families are targets for deportation and criminalized for their brown skin, Princess Sofia is a distraction. Historically speaking, Sofia might be Disney’s first princess, but there are other famous and royals and Sofias who carry Hispanic herencia, including Sofía, current Reina de España and Sofía Vergara, Columbian comedienne, reina of ABC’s Modern Family, and how could we forget the reina of Tejano music, Selena as a part of this amalgam. Thus, we might read Disney’s Princess Sofia as a intertextual citation of these three reinas, and a means of creating a Diva figure for Latina/o youth to emulate and identify with.

As scholar Deborah Paredez has noted about youth who perform the Latina Diva’s legacy through song and affect, “donning the outfit of a diva…harnesses the power of Selena’s embodiment of becoming to convey her own non-traditional, non-white budding sexuality.”3 But here’s the hitch with Princess Sofia’s Diva pose: instead of proposing brown skin as a positive, and potentially boundary-breaking figure that disrupts normativity, her whiteness and accidental Princessness (she’s adopted and saved by a royal family) recapitulate to the original and somewhat false signification of whiteness associated with la reinaSofía and España and not necessarily the other versions of being a queen posed by Vergara and Selena.

Original article continues at The Feminist Wire