08/04/2014 Hispanic Arts Imitate Life. by Hispanic Outlook on Education Magazine

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LATINO KALEIDOSCOPE

A Broken System, Yes, Indeed! By Carlos D. Conde othing could get more contentious, polemical, or demagogic – throw in desperate also – currently than the diaspora of the thousands of children from Central America fleeing their country in quest of a free pass toward a better life into the U.S. Since last October, more than 52,000 children and teens have been caught or surrendered to immigration agents. Most are from Guatemala, Honduras and El Salvador. They hope for a permiso by U.S. immigration authorities to turn them over to a relative or guardian while their status is adjudicated which can take forever. Meanwhile, bye-bye illegal kid! Everyone from President Obama to congressional leaders, to non-governmental organizations to social services groups, to just plain ordinary Americans has gotten involved in a human plight where the motivating factors are supposedly driven by compassion and charity. There is another growing element of Americans in this drama who would rewrite our nation’s Statue of Liberty emblem of “Give me your tired, your poor, your huddled masses yearning to breathe free.” “Enough! Send them all back” seems to be the growing sentiment and some say, perhaps a new-age ethos, and it’s not just about Central America which is currently ground zero for the problem. Not that Americans are less compassionate but they do seem exhausted and a bit jaded with the never-ending humanitarian rescues. The pity-the-innocent-children exhortations seem to be the latest venture of would-be immigrants to get into the United States. Proponents of the exodus say it’s not about a grander migration scheme; it’s more a rescue operation for kids who are being exploited and abused in their native countries. Many of the children’s petitioners are parents or relations already living here. Some are undocumented or in the process of legitimizing their own illegal status but through a little ingenuity, have been able to avoid imperiling their own situation while advocating the youths’ case. The children are coming across in droves, which has overwhelmed out federal government’s human resources agencies that provide temporary assistance and shelter and weigh their petitions for legitimate status. The motivating factor in granting temporary status to adolescent refugees is the marauding gangsters in their country which are allegedly terrorizing the children, holding them in bondage or killing them.

Then there is the have-a-heart factor that asks how a charitable, benevolent and rich country like ours can turn away poor, innocent children being exploited or killed by lawless groups? The undocumented children and their tales of deprivation and death have preyed on the compassion of many Americans, still with their charitable spirit but seemingly exhausted by the never-ending human dramas that tug at our altruistic nature. Maybe the kids, particularly the underprivileged, have placed themselves in uncertain and hazardous situations, traveling alone and asking only to be assisted in reuniting with relatives in the U.S. One has to admire the youths’ grit and ingenuity, with help from relatives and sponsors, at negotiating the perils and dangers that stalk them throughout their journey. Many children and their tutors have learned how to game the system. Immigration agents may be resourceful at picking up illegal aliens at the border, particularly in South Texas, across the Rio Grande River, but they still haven’t mastered the element of deportations. The recent phenomenon is children making their way to the border and surrendering. They receive a permiso or a writ, and are released with a notice to appear later for their deportation hearing which can take months or over a year. The idea of American enforcement agents ever seeing them again is laughable. The naivety on the part of the border patrol and immigration judges is deafening or maybe they are just going along with the ruse on the part of the illegals of promising to appear, since few do, a factor known to all. This procedure is not available to Mexicans who are immediately shuttled across the border back into Mexico. President Obama has told immigration advocates he’s on top of the problem except he hasn’t provided any substantial remedies except to send Vice President Biden to discuss the issues and remedies with the countries’ presidents and to promise $225 million to confront the problem. Honduran president, Juan Orlando Hernández, skipped the meeting to watch his countrymen play in the soccer’s World Cup in Brazil.

Carlos D. Conde, award-winning journalist and commentator, former Washington and foreign news correspondent, was an aide in the Nixon White House and worked on the political campaigns of George Bush Sr. To reply to this column, contact Cdconde@aol.com. HISPANIC OUTLOOK

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MAGAZINE® AUGUST 4, 2014

Contents 6

Cal State Fullerton’s Arts Week – Life Lessons with an Artistic Flare

by Frank DiMaria

Latino Culture Takes Center Stage by Diana Saenger

The Old Spanish Masters Retain Popularity by Michelle Adam

Museum of Latin American Art Presents Photographs by Manuel Carrillo by Marilyn Gilroy

Hispanic Actress Wants to Make a Difference by Diana Saenger

Rivera Murals Designated National Historic Landmark

Cover photo: Diego Rivera mural, Detroit Institute of Arts

by Marilyn Gilroy

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Published by “The Hispanic Outlook in Higher Education Publishing Company, Inc.”

Departments 3

Latino Kaleidoscope by Carlos D. Conde

Scholars’ Corner by Argelia Lara

Targeting Higher Education Gabriel García Márquez by Gustavo A. Mellander

Publisher and Editor Nicole López-Isa Executive Editor Marilyn Gilroy Senior Editor Mary Ann Cooper Washington DC Bureau Chief Peggy Sands Orchowski Contributing Editors Carlos D. Conde, Michelle Adam Contributing Writers Gustavo A. Mellander Art & Production Director Wilson Aguilar Art & Production Associate Jenna Mulvey Advertising, Marketing & Sales Director Robyn Bland Article Contributors Frank DiMaria, Argelia Lara, Sylvia Mendoza, Miquela Rivera, Diana Saenger Editorial Oﬃce 220 Kinderkamack Rd, Ste. E, Westwood, N.J. 07675 TEL (201) 587-8800 or (800) 549-8280 Editorial Policy

Book Review Forging People: Race, Ethnicity, and Nationality in Hispanic American and Latino/a Thought by Mary Ann Cooper

Interesting Reads

The Hispanic Outlook in Higher Education Magazine® is a national magazine. Dedicated to exploring issues related to Hispanics in higher education, The Hispanic Outlook in Higher Education Magazine®is published for the members of the higher education community. Editorial decisions are based on the editors’ judgment of the quality of the writing, the timeliness of the article, and the potential interest to the readers of The Hispanic Outlook Magazine®. From time to time, The Hispanic Outlook in Higher Education Magazine® will publish articles dealing with controversial issues. The views expressed herein are those of the authors and/or those interviewed and might not reflect the official policy of the magazine. The Hispanic Outlook in Higher Education Magazine® neither agrees nor disagrees with those ideas expressed, and no endorsement of those views should be inferred unless specifically identified as officially endorsed by The Hispanic Outlook in Higher Education Magazine®.

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ARTS/INNOVATIONS & PROGRAMS

Cal State Fullerton’s Arts Week Life Lessons with an Artistic Flare By Frank DiMaria

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ARTS/INNOVATIONS & PROGRAMS

Brandon Harris, a music major and senior at Fullerton’s College of rhe Arts and chair of the arts in the Inter-Club Council.

alifornia State University, Fullerton (CSUF) came up with a clever way to teach its students about financial literacy. It used its Arts Week as the platform and a slightly-altered version of the Tony Award-winning musical Rent as the vehicle. Sixteen freshmen, under the direction of Fullerton theatre arts alum Brandon Burk, who also choreographed the show, performed four songs from the hit musical, including “What You Own,” “Life Support,” “Will I” and “Rent.” The twist is that the Fullerton students adapted the original “Rent” lyrics to address budgeting, credit card use and identify theft. Brandon Harris, a music major and senior at Fullerton’s College of the Arts and chair of the arts for the Inter-Club Council, which provides the funding and planning for Arts Week, says, “It’s a very interesting take on how to educate students on how to be financially literate.” Marciela Alvarado, interim assistant dean of the arts at Fullerton knows that having the financial literacy conversation, although important, is not always pleasant. “Sitting in a room and telling them how they should spend or not spend, how they should seek scholarship opportunities, what the life of an independent college student looks like is not a fun conversation to have with our students. The reason we support the (production of Rent) is be-

cause it sends that information in a very creative, fun, non-threatening way,” says Alvarado. The production was the brainchild of Timothy Nathaniel Alexander III, a senior theatre arts major, who served as the show’s producer. Alexander conceived the project while working as a student assistant in the division of student affairs and was asked to prepare a presentation on financial literacy and thought a theatrical production would attract more student interest than a PowerPoint presentation. The production ran about 20 minutes and was a partnership between the Fullerton College of the Arts and Bank of America, which provided the college with a $20,000 grant to produce and promote the show. Following the performance, CSUF administration provided students with information about scholarships, the location of the financial aid office and how to access financial aid resources online. “We hope they take away additional material in addition to the fun theatre performance,” says Alvarado. College of the Arts students worked for nearly an entire school year to put the production together. “It actually started back in September,” says Harris, and they presented the show on April 17. The entire production – the writing, direction and performance – was the work of Fullerton College of the Arts students. Harris, who is studying voice at Fullerton, was a HISPANIC OUTLOOK

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ARTS/INNOVATIONS & PROGRAMS

Marciela Alvarado, interim assistant dean of the arts at Fullerton. Photo by Matt Gush.

driving force behind the massive production. “It was an entire process from getting the grant, selecting the cast and doing all the rehearsals. I had to hand-pick the band myself. Putting that all together, creating the props and the scenery and perfecting it so it would be a really great presentation,” says Harris. The 30-plus students who participated in the “Rent” production received no class credit for their efforts and put the entire production together in their spare time. Harris and other student leaders did receive some guidance from faculty, but for the most part “Rent” and for that matter Arts Week was entirely presented by Fullerton students. “There weren’t any professors in the rehearsals critiquing,” says Harris. Since the message of financial literacy is critically important to all college students, the College of the Arts needed to create a buzz about the performance. Students shot a trailer advertising the performance in February and they ran it on various social media to get the word out. They used Facebook, Instagram, Tumblr, the school website, the College of the Arts website and the Arts Week Facebook page. “We used all the different avenues we can to run the trailer,” says Harris. Financial literacy is a valuable real-life skill for all college students no matter their major. For an art major a behind-the-scenes glimpse into the world of television animation can prove just as valuable. Although not officially part of Fullerton’s Arts Week the “Butt What Is Art? A Sanjay and Craig Fine Art Retrospective” exhibit was open to Fullerton students during the week. The exhibit, which

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was a partnership between the children’s network Nickelodeon and Fullerton’s College of the Arts, brought the creators of Sanjay and Craig to campus to discuss the birth of “Sanjay and Craig,” from its punk-inspired creation in San Francisco – where the dude-snake duo was first drawn – to its present state as an artist-inspired, storyboard-driven show with creators at its heart. The collection was punctuated by original character sketches, layouts, backgrounds, title cards, storyboards and animated video. In addition, the curators commissioned original art for the exhibition, including drawings, sculptures and a one-of-a-kind collection of Fart Jars. Much of the humor found in Sanjay and Craig is bathroom humor. Jim Dirschberger and Jay Howell, the show’s creators and its co-executive producers, gave a talk, a Q&A session and presented a visual journey through their careers that highlighted their various creative influences and partnership and the collaborations that led to the show’s inception at Nickelodeon. A screening of a “Sanjay and Craig” episode concluded the session. Another Arts Week program beneficial specifically to the art major was a portfolio review and a panel discussion on visual arts. Six Fullerton alumni who currently work in the art profession discussed the graphic design, animation, painting, drawing and book illustration fields. “They discussed their struggles, challenges and how they got where they are now. Then the students sat with each of these professionals and received a critique. This is aligned with our academic process here. In order for you to graduate with a visual arts degree you need a portfolio. So it’s nice to get the eye of the professional and the eye of the academic faculty member. Students really took advantage of this,” says Alvarado.

“

It was amazing for nonartists to come and see what our students can create with their hands with a limited amount of instruction,” Marciela Alvarado, CSUF interim assistant dean of the arts

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ARTS/INNOVATIONS & PROGRAMS

Cal State Fullerton President Mildred García, is flanked by the “Sanjay & Craig” cartoon series creators Jim Dirschberger on the left and Jay Howell on the right. Photo by Matt Gush.

As part of the College of the Arts’ 3-D design class, Fullerton students designed and built boats, showcasing them in a race during Arts Week. Entries had to be inspired by an artist and of course had to be buoyant enough to float and they had to move through water. “Students took their classroom experience, a curricular experience to a co-curricular, out of the classroom experience,” says Alvarado. “It was amazing to see the creativity. Faculty members did not give them strict rules. “The boat had to be inspired and it had to run. They went off and they used fire, they used heat to run the boats. They just got so creative. It was amazing for non-artists to come and see what our students can create with their hands with a limited amount of instruction,” says Alvarado. Being just 35 miles south of Hollywood, it is fitting that Fullerton’s Arts Week offered students an extravaganza worthy of Tinseltown. The Arts Week

fashion show was just that; an extravaganza. Fullerton’s fashion club presented a fashion show that featured its very own clothing line. “Fullerton students were able to see what our students are creating when it comes to fashion and what inspires them in fashion and trends in fashion. All created by students for students,” says Alvarado. “It was truly a Hollywood experience for everybody.” Arts Week, at least for Alvarado, is a wonderful opportunity for students to showcase what they have learned and accomplished in the classroom. It’s all about creativity, she says. “In any degree, in any career there needs to be some creativity and we don’t necessarily realize that it is art behind that creativity,” says Alvarado. “Our students spend an entire semester preparing for the productions (that we offer during Arts Week). To finally see the work and the final product is amazing,” she says.

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I NRNT OS V A / APT RI OONF SI L & E PROGRAMS

Latino Culture Takes Center Stage By Diana Saenger hen some people don’t find what might have propelled them forward in life, they step out of the safe zone to create it for others. Such is the journey for Edward Torres, the co-founder and former artistic director for Teatro Vista Theatre where he produced more than 25 plays over the past 12 years. This past spring Torres directed Quiara Alegría Hudes's Pulitzer Prize-winning play Water By The Spoonful at the renowned Old Globe Theatre in San Diego. Torres’ family came from Patillas, Puerto Rico to Chicago, Ill., where he was born in 1964. His father served in the Air Force and then tried several jobs including working in the steel mills and finally starting his own auto mechanic business. His mother was a day-laborer for the Zenith Corp. in Chicago. “I was first-generation, so I grew up speaking Spanish,” Torres said. “Out grandmother was in our home taking care of us while my mother worked. It was very interesting growing up on the south side of Chicago. At that time, it was primarily a Jewish neighborhood, and then it became an AfricanAmerican neighborhood, which I found wonderful because I got to experience different cultures.” After high school Torres served in the Air Force, then attended Roosevelt University where he earned a BA in theatre. At Columbia College in Chicago he earned his MFA in film. Education was important in the Torres family. “My parents wanted all of us to go to college. My brother went to college, and now he’s retired from the Air Force. My sister attended college and got a degree in fashion illustration.” Although Torres claims he was bitten by the theatre bug in high school, it wasn’t until he entered college that he finally decided he wanted to be an actor. “I kept thinking I could potentially be good at this – I’ve got to do this,” he said. “It was a passionate decision. I couldn’t think of anything else. After college I had to figure out how to get on stage.

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That’s how Teatro Vista was started, and it was challenging learning how to write grants, direct, raise money, run the theatre, do a budget, promote a show, sell tickets, and do a poster. And you do that for the love of it so you learn how to do everything. After learning to direct plays, I’ve been doing that, and acting, ever since.” Teatro Vista Theatre was founded in 1990 by Torres and Henry Godínez to address the lack of opportunities for Latino artists and other artists of color, and to explore the new work of Latino writers that challenged not only the actor and director, but also the audience. In 1995, Godínez left the company and Torres became artistic director. He used the stage to engage, connect and challenge audience members through stories told from the Latino perspective. In 2011, Teatro Vista was celebrated as one

Edward Torres.

Photo Credit: Jim Cox.

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L A P ER A R T SD S /P EE RPC SRTHOIIVFP EI/LSREO L E M O D E L S of 25 of “Chicago’s cultural leaders” by the Arts & Business Council of Chicago, and received the League of Chicago Theatres’ Artistic Leadership Award. “This came about because as an actor I discovered you don’t always fit what some directors are looking for,” Torres said. “There were people in the profession at that time who wanted to expand casting options, but it wasn’t in effect yet. I figured if there were not a lot of opportunities for me out there, then there probably was not a lot for many other actors.” Teatro Vista Theatre has become a big focal point in Chicago Theatre. The ensemble-based theatre was founded on equity of directors, artists, and actors through a CBS grant of Victory Gardens Theatre. “It’s itinerant without its own home but doing a residency at Victory Gardens Theatre, and about three years ago we had a residency at the Goodman Theatre in Chicago,” Torres said. “We focus on new works by Latino authors, but we are inclusive so everyone is included no matter their color.” Torres’ goal with the theatre was to stage Latino works that reflect the universality of humanity. Not only has that goal been reached and is still be carried out, but Torres said Teatro Vista Theatre also changed his life. “I like to define the Latino culture as a world culture, so for me it means a background of race which is European, indigenous African and Asian and in-

cludes all four of those groups of people. It’s a wide variety so being able to dig into those roots and being able to tell stories from a universal perspective so that not only does it challenge the normal perspective of what Latino is, but also says we are reaching out to you! We are distinctly different but also same in the way we are in humanity. World culture has found its way to the U.S., which is really wonderful. The experience from authors of the 1960s and 70s is totally different than from authors of the 90s and today. It’s great to see how that perspective changed. But only somewhat, because it’s always been an inclusive culture, and we keep having that Latin explosion over and over again. It’s huge and hasn’t even been tapped into yet.” Torres’ ability to direct allows him to bridge cohesiveness between the Hispanic culture and other cultures. “I like to think it does,” he said. “Theatre is an art form that needs an audience presence as they experience it. I feel our culture – the Cubans, Dominicans, Mexicans, and Guatemalans – has so many aspects to it, like language, which is really important. Theatre not only sets us apart; it brings us together and allows that to happen. Any art allows that to happen with different points of view and what we share. We have the same experiences; wondering why we are here, do you go through the same things as me, have you had this experience? This lessens the

Director Edward Torres (standing center) with the cast of Water By The Spoonful (from the left: M. Keala Miles, Jr., Keith Randolph Smith, Robert Eli, Rubio Quian; (sitting) Marilyn Torres, Rey Lucas, and Sarah Nina Hayon. Photo Credit: courtesy The Old Globe. HISPANIC OUTLOOK

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P AE RR T SS /P EPCRTOI VF EI LSE divide in the wall outside and inside the culture. Directing also helps to facilitate Torres as an actor. “I have a great respect for both,” he said. “As an actor I have a process that gets me into a character, a mode to understand the story, and a tone of the character that the play takes on. We have those tools and a process to utilize for them, which is complicated because we as people are complicated. Whether it’s TV, film or theatre, the process the actor goes through to transform him or her into that character can be complicated. As an actor you know that so when you’re on the other side of the coin as a director, you have a lot more respect for that process. My job is then to tell the story in a clear way that engages the audience. The director is responsible for every facet; story, music, composition, costumes, the way the actor approaches the story and the clarity of the story. So knowing what the other side has to go through to do that, it’s easier to manage it all and communicate that to the actors.” Torres’ resume is vast. Only a few of the plays he has directed or starred in across the country include: The Boiler Room, Elliot, a Soldier’s Fugue, The Happiest Song Plays Last, Oedipus el Rey, and The Cook. Torres directed the world premiere of Kristoffer Díaz’s The Elaborate Entrance of Chad Deity at Victory Gardens Theater (produced in association with Teatro Vista), which was named Best Play of 2009 by the Chicago Tribune, Chicago Sun-Times, and Time Out Chicago, and was a finalist for the

tuition

Pulitzer Prize. Among his many accolades and awards, Torres was the recipient of a Arts Artist Award in 2010. Torres currently serves on the Illinois Arts Council, and formerly served on the National Endowment for the Arts’ theater panel (2005-2007) and the MPA Fund’s theater panel (2008). He was featured as guest director at the 2011 Eugene O’Neill Theater Center National Playwrights Conference, where he has served on their artistic council since 2014. He’s proud of these recognitions, but more about the results that come out of his work. “I’m humbled by everything that’s good or bad. I’m constantly learning something from it all the time. As many times as I get accolades, which are wonderful, and I’m very lucky to have some; I learn from each and every turn whether working in a different theatre or with different people or writers. There are so many people in theatre who don’t get enough credit, especially the operations and behind the scenes people. They hold it together and make it happen. So when we get an award or recognition, it’s very humbling, but also what keeps me real.” Today, Teatro Vista is enjoying its 24th season, having grown to be Chicago’s largest nonprofit Equity Latino theater company producing full scale, Latinooriented, and theatrical productions in English. “I’m a member and director emeritus, and really proud of that company and to see it continue and thrive.” Torres said.

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PR A ER O T SSG PR EA CMT SI V E S

Spanish Masters

The Old

Retain Popularity

By Michelle Adam hen people speak about the Old Masters of European painting, they are referring to artists who painted during a time period of 1300 to 1830, and whose works are characterized by extreme technical skill and a beauty and style that have remained popular through the centuries. In Spain, this holds true as well. The Old Masters cover the walls of museums like El Prado and remind the country of its rich, beautiful, and sometimes brutal history. Three of Spain’s most well-known Old Masters are El Greco (born as Domenikos Theotokopoulos), Diego Velázquez and Francisco de Goya. And each carries a unique style that mirrors the time in history in which they painted. El Greco, who lived from 1541 to 1614, painted the strong religious fervor of his time; Diego Velázquez, of 1599-1660, depicted the life of the courts; and Francisco de Goya, of 1746-1828, was the artist of the people, painting national upheaval and change, as an era of Old Masters came to an end, and new masters were born. El Greco, who was rescued from obscurity by a group of 19th century collectors, was born on the Greek island of Crete (thus, the reason for his nickname, “the Greek”). Although he was more Greek than Spanish, his move to Spain in 1576 and his religious style of painting made him one of the most well-known Spanish painters in history. El Greco was trained as an icon painter. He moved to Venice in 1567, determined to master the elements of Renaissance painting, and then moved to Rome, where he worked from 1570 to 1576. Although his intention was to set up shop and pursue a career here, it’s believed that his criticism of Michelangelo’s abilities as a painter may have made

it hard for him to receive the credibility and commissions in Rome he needed to succeed. By 1576 he moved to Spain, and, after his bid for royal patronage from Philip II failed, he settled in Toledo. Today, El Greco’s work can be seen in Toledo, among many other places throughout the world, because this ancient city launched his highly profitable career. In Toledo, he was commissioned to paint three altarpieces for the Church of Santo Domingo el Antiguo and Espolio (The Disrobing of Christ) for the cathedral vestiary. His most celebrated painting, The Burial of Count Orgaz, was also commissioned by the parish priest of Santo Tomé in Toledo in 1586. These works are among El Greco’s most ambitious masterpieces.

The Burial of Count Orgaz by El Greco

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P AE RR T SS P E C T I V E S In Toledo, headquarters of the Spanish Inquisition and the center of the Counter Reformation (Catholic Revival), El Greco’s unique religious style of painting flourished. His style was based on impressions and emotions, with elongated figures and vibrant colors and brushstrokes. This style is visible in the Burial of Count Orgaz, where the count’s soul is received into paradise, and the viewer sees the real world of a funeral in the lower half of the painting in contrast with the visionary and imaginative experience of the soul’s journey in the upper part of the painting. Influenced by El Greco’s work, and arriving on the scene as an artist shortly after him (in the early 1600s), Diego Velázquez became one of Spain’s most important court painters. Born in Seville to a Portuguese family in 1599, he moved to Madrid in 1622, and became a court painter to Philip IV. With a salary, he was able to pursue his passion for portraiture (many artists had to rely on commissions that were mainly religious to make a living), and he became known for his excellence with portraits for the next 20 years. In 1627, he was named Spain’s best painter in a competition for best painter launched by Philip IV. Throughout his career, Velázquez traveled to Italy to study the High Renaissance artists, and also learned from the Flemish artist, Rubens. He was unlike other traditional artists in that he painted his subjects with-

out pomp and ceremony. Even with his court paintings, he included dwarfs, bodyguards, and dogs – everyone. His most famous Baroque-style work, Las Meninas, was produced with a bright and fluid use of color during Velázquez’s final years. Here he shows several figures in a room in the Spanish court of King Philip. The young Infanta Margarita is surrounded by a group of ladies in waiting, bodyguards, dwarfs, and a dog. And just behind them, in the mirror, you can see the king and queen, and the artist painting a canvas. The history of Spanish painting would be incomplete without mention of the third of the great Old Spanish Masters, Francisco de Goya. Born in 1746, Goya was considered the last of the Old Masters, and the first of the moderns. Like Velázquez, he was also a court painter to the Spanish Crown, beginning in 1775, when he painted a series of more than 60 cartoons for the Royal Tapestry Factory of Santa Bárbara. In 1780, he was elected a member of the Royal Academy of San Fernando, Madrid, and in 1785 he was appointed deputy director of painting at the academy. The following year he became painter to the King Charles III, and painted portraits of court officials and members of the aristocracy. Goya’s work and influence reached greatest prominence after the death of Charles III. Under the patronage of Charles IV, Goya became director of the

Las Meninas by Diego Velázquez

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The 3rd of May 1808: The Execution of the Defenders of Madrid by Francisco de Goya

themselves became those most remembered of Goya’s works. In 1824, when Spain was not able to establish a liberal government, and persecution persisted, Goya went to France, where he lived the last years of his life. Despite the fact that he served as a court painter, and was able to paint traditional works like the best of them, he was also a revolutionary artist. He showed contemporary life, and the realities of war and political and social upheaval, and inspired modern artists in both his style and subject-matter. After all, Goya, like Velázquez and El Greco, were painters of their times, and as the period of the Old Masters came to an end, the new masters in Europe and beyond were inspired to pick up from where they left off. The events of history would give shape to a new generation of artists, but they would look toward these Old Masters for inspiration and excellence for centuries to come.

academy in 1795, and the first court painter to the new rule in 1799, and his commissioned works used conventional portraiture formulas. But Goya also ruthlessly showed the society in which he lived, taking more liberties of expression. In his well-known series of 80 etchings, Los Caprichos, published in 1799, he attacked political, social, and religious abuses. In 1808, when Goya was at the height of his career, Napoleon’s armies entered Spain, and Napoleon’s brother Joseph took the throne. Although Goya retained his position as court painter, he had made drawings during the war, showing the horrors of the invasion. Later, when Ferdinand VII was restored to the throne in 1814, after the expulsion of the invaders, and Goya was reinstated as a court painter, The 2nd of May 1808: The Charge of the Mamelukes and The 3rd of May 1808: The Execution of the Defenders of Madrid were painted to commemorate the popular insurrection in Madrid. Goya used dramatic realism to depict these scenes that changed the course of Spanish history, and the paintings

El Greco

Velázquez

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PR A ER O T SSG/PR EAPCM RTO SI VF EI LSE

Museum of Latin American Art Presents Photographs by Manuel Carrillo By Marilyn Gilroy

Manuel Carrillo (Mexico, 1906-1989) Boy Watering Horses, Veracruz / Niño dando de beber a los caballos, Veracruz, 1956 Gelatin-Silver Print – 8 x 11 in.

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PE A RR T SS /P EPCRTOI VF EI LSE here was very little about Manuel Carrillo’s early life that pointed to a career in photography. Although born in Mexico City in 1906, he traveled back and forth between Mexico and the United States throughout several decades. At the age of 16, he moved to New York and worked at various jobs including one on Wall Street. At one point he became an Arthur Murray waltz and tango champion. He returned to Mexico in 1930, working for a tourist agency in Mexico before settling into a position as the Mexico City general manager of the Illinois Central Railroad Company. But Carrillo’s life took a turn in 1955, when he joined the Club Fotográfico de México and the Photographic Society of America, which launched his career in photography at the age of 49. Although his first exhibit was in Mexico City, he gained international recognition after the Chicago Public Library displayed his works in 1960. The exhibit was titled, Mi Pueblo (My People), and depicted daily life in rural Mexico. His work enjoyed widespread distribution as he produced a monumental number of images which were exhibited in Mexico, the United States,

England, China, Hong Kong, Rumania and France. Currently, the Museum of Latin American Art (MOLAA) in Long Beach, Calif., is displaying Mi Querido México, a collection of Carrillo’s blackand-white photographs of people and his homeland, revealing the warmth of his personality and his love for his subject matter. “El Maestro Mexicano,” as he was known on both sides of the border, imbued his photographs with humor and compassion, says MOLAA’s president and CEO Stuart A. Ashman, who is curator of the exhibit. Ashman says Carrillo’s images convey his love for the people of Mexico, particularly rural people, the elderly, and children, along with the animals that they held dear. His images also serve as social documentation, capturing the faces and moods of post-Revolutionary Mexico as the country searched for its national identity. Carrillo’s work, along with the well-known Manuel Álvarez Bravo, Tina Modotti and the American photographer Edward Weston, among others, was a contributing force as to how Mexico saw itself and how it was perceived by the rest of the world. “Carrillo, along with the other photographers of his

Manuel Carrillo (Mexico, 1906-1989) Woman on Park Bench (San Miguel) / Mujer en el banco del parque (San Miguel), 1970 Gelatin-Silver Print 8 x 10 ¾ in. HISPANIC OUTLOOK

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PE A RR T SS /P EPCRTOI VF EI LSE day – and those that preceded him – were using photography to chronicle their time and important events of the period,” said Ashman. “The aestheticism came out of the artists’ skills, talents and sensibilities.” Some have suggested that Carrillo’s aesthetics are similar to photos found in publications such as National Geographic that attempt to document an indigenous people. But others point out that his artistry has a significant historical and cultural importance. “In that particular period (pre-digital) photographers were ‘witnesses’ to actual moments in time and place. Photography was considered ‘evidence’ of visual facts and the images,” said Ashman. “In Carrillo’s case, the photos provided the kind of information that served to form an idea of what Mexico was for people outside of Mexico as well as providing the people of Mexico with a new way of looking at themselves.” Carrillo used photographic techniques to tie his human subjects to their surroundings in a timeless manner. His work honors the tradition of the strong ties that Mexicans have long felt to their land. One

“

Carrillo’s photography provides social documentation and interpretation of Mexican culture at a time when the country seemed to be searching for an identity” Stuart A. Ashman, CEO and president of MOLAA

critic has noted that “an anthropologist's curiosity is evident in his work, and his pictures are as much a celebration of the human spirit as a record of local rituals and practices.” Certain motifs appear throughout Carrillo's images, such as stray dogs, children on the street, and groups of workers, but he portrays these figures tenderly.

Manuel Carrillo (Mexico, 1906-1989) Drunken Barrels-Pulqueria (Toluca) / Barriles borrachos-Pulqueria (Toluca), 1970 Gelatin-Silver Print 7 ¾ x 9 ¾ in.

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PE A RR T SS /P EPCRTOI VF EI LSE his work for over 35 years. I was a student of photography and he was among the photographers that I had seen and admired.” According to notes on Carrillo’s life, the photographer was concerned about what would happen to his work after his death and hoped it would remain in circulation. The MOLAA exhibit brings his work back into the public eye with Ashman’s narrative serving as a reminder that Carrillo’s photography “provides social documentation and interpretation of Mexican culture at a time when the country seemed to be searching for an identity.” He also emphasizes Carrillo’s preoccupation with man’s relationship to nature. In 1980, the Photographic Society of America named Carrillo an honorary citizen of El Paso, Texas, where he entrusted the care of his photographic archive of over 10,000 prints, negatives and slides to the University of Texas at El Paso library. Carrillo died in Mexico City in 1989 at the age of 83. This MOLAA exhibit is part of an ambitious program of art, education and events, such as concert series and book discussions, which occur each year at the museum. It is a relatively young intuition, having been founded in 1996 by Robert Gumbiner, a physician who was also a philanthropist, collector, and patron of the arts. MOLAA’s mission is unique because it is the only museum in the United States dedicated to modern and contemporary Latin American art. Since its inception, MOLAA has doubled in size and continues to expand its permanent collection, ranging from works by Tamayo and Matta to Cruz-Diez, Los Carpinteros and Tunga. The museum has completed the expansion of its physical facilities and is focused on strengthening its position as a multidisciplinary institution providing cross-cultural dialogue.

“In the case of Carrillo, his demonstrated compassion for the Mexican people, particularly the elderly, children and the animals that they interact with, showed the essence of Mexico to the world while valuing these characteristics for the people of his beloved Mexico,” said Ashman. As Carrillo’s work gained recognition, it was published in a variety of photographic anthologies and journals and acquired by notable cultural institutions. It is included in the permanent collections of the Museum of Modern Art in New York City, London’s Victoria and Albert Museum, Universidad de Salamanca, in Spain and many others. Chicago’s Museum of Contemporary Art, which also owns some of Carrillo’s photos, describes his focus as “one that embraced the ideas of Mexicanidad, a cultural movement that emerged in the 1920s after Mexico's Revolution and which included influential writers, photographers, and artists, such as Frida Kahlo and Diego Rivera. Its overriding ambition was to substantiate a national identity by purging colonial and any other foreign influence from current art.” The photographs used in the MOLAA exhibit are from the Bank of America’s collection. Ashman jumped at the chance to organize the show when he came to work at MOLAA in 2011 and met Allen Blevins, director of culture at Bank of America. “Blevins learned about my interest in photography and asked me if I knew Manuel Carrillo’s work, I told him I had admired his work and had lamented the fact that little was known about him and that there was little published on this artist. He invited me to curate an exhibit from the Bank of America’s collection.” Ashman discovered Carrillo when he was studying photography in his 20s. “I have known about

Manuel Carrillo (Mexico, 1906-1989) Dog Joins the Games at 2nd Base / Perro se une al juego en la segunda base, 1970 Gelatin-Silver Print.

5 ¼ x 12 in.

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IPNE A RNR T OSSV /P A PE TRCIO TOIFN VI SE LS E& P R O G R A M S

Hispanic Actress

Wants to Make a Difference

By Diana Saenger

Edith González Fuentes

any young girls dream about becoming a TV or movie star, or rock star. At the mere age of 5, Edith González Fuentes was in the right place at the right time to be discovered and ultimately start a career in show business. “My mother had a visitor watching me play with dolls and remarked to my mother that I could be a young actress,” González Fuentes said. “My mother then took me to a public TV singing show in Mexico City. Nearby they were taping something for a TV show on Sunday and they needed a little blonde-haired girl with blue eyes. My mother told me to go with them and for four hours I did whatever they told me to do.” González Fuentes was born Mexico City in 1964 and raised in Monterrey, Nuevo Leon, Mexico.Her family was considered to be middle-class and somewhat “well-off.” Her father was a mathematician. Her mother encouraged her to make a career in the arts. President Shirley Reed

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“My, mother loves the world of fantasy, acting and movies,” said González Fuentes. “ She liked the tenderness of characters, and the capacity of dreams that actors can give so we can live someone else’s life.” Her first role was playing Cossette in Los Misérables at age 7 which when she was 15 led to a role in the Mexican telenovela Los Ricos También Lloran (The Rich Also Cry) as the typical spoiled daughter, Marisabel Castañeda Smith. She attended The Lee Strasberg Theatre and Film Institute in Los Angeles to further her acting career, then returned to Mexico and went on to New York and Paris for more studies. González Fuentes received acclaim working in the telenovelas, and throughout the 1970s and 80s, she appeared in many of them and then branched out to films. In 1993, after coaching from her brother, a historian, she was offered a role as Monica in the steamy telenovela Corazón Salvaje, which became a world-wide classic. In 1994 González Fuentes won a TVyNovelas Award for Best Lead Actress in Corazón Salvaje. During the following years González Fuentes appeared in more telenovelas and a few films. In 1997, she appeared in La Jaula de Oro. Also in 1997 González Fuentes became the lead in the successful musical Aventurera. The musical, now in its 13th year, was a brave choice due to her role as a woman forced into prostitution after her mother abandons her at a young age. “That film was a big decision and kind of scared me,” González Fuentes said. “It takes place in the 1930s and they had to take off my eyebrows. The entire film community was questioning why I was going to play that role. For me it was about growth

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PE A RR T SS /P PE RC O T IFVI E LS E

“

[It] is not so much about me being an actor or famous. But more that we are lucky to live where we do and have a part in of whatever we can to make this country better.” Edith González Fuentes, actress

in my career. That’s also why I chose to play a lesbian in Deseo. I see this film as about souls, human beings, and desires. People say it’s a strong movie, but I found it very soft, elegant, with a beautiful vision and photography, quality music and acting. Written by Antonio Zavala Kugler with Arthur Schnitzler, this was something that not just any writer could have done.” In 2003 González Fuentes played a Miami police detective alongside Eva Longoria Parker in the directto-video action thriller Señorita Justice. While González Fuentes enjoys performing, she also has other values in her life. In 2004 she took a break from acting when her daughter, Constanza, was born. “I always try to make her conscious of what it means to be a woman, González Fuentes said. “In Mexico it’s always about money, but I teach her my life is kind of an independence that is not so much about me being an actor or famous. But more that we are lucky to live where we do and have a part in of whatever we can to make this country better.” In 2010 González Fuentes married economist Lorenzo Lazo. She has been able to travel around the world to countries such as China, Russia, Italy, Croatia and Kenya. She went to Los Angeles to shoot a cosmetic ad and learn English and also traveled to Paris to practice ballet and learn French. González Fuentes was very proud when she became the spokesperson for the Monterey Bay Aquarium in 2013 at the ninth annual Fiesta del Mar, the Latin American cultural festival celebrating ocean conservation. González Fuentes presented the Hero of the Environment award to Grammy-nominated musician Jose Hernández for his work as spokesman for the Viva Vaquita campaign to promote awareness and protection of the vaquita porpoise, a rare endangered species that lives in the Gulf of California.

“This was yet another example to my daughter what things I can achieve through my career,” she said. “I fell in love with that project and enjoyed working in the Spanish-speaking community about the entire California coast and what is going on in the sea that matters to all of us. I wanted my daughter to know it does not matter what country you are from; what matters is what you do for it.” González Fuentes wants her daughter to also know and be proud of her heritage as well as get a good education. “I love Mexico and am proud of my Mexican heritage and roots and our Hispanic holidays,” she said. “My daughter has a wonderful heart and soul and I teach her that the better education you have, the more perspective you have. It’s not about money or the best job. I believe we have lost our perspective of what we want in the world. I think those attending universities and colleges need to open their eyes and have better teachers who can help them study what will really benefit them and help them become employed. People need to read more. Books pump your imagination.” In recent years González Fuentes signed a contract worth millions with TV Azteca network. She also was chosen as the new Hispanic figure for the Got Milk campaign and posed with the famous milk mustache along with her daughter, Constanza.

Patricia Cruz holds trophy presented to her by TV star Edith González Fuentes HISPANIC OUTLOOK

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P AE RR T SS P E C T I V E S

Rivera Murals

Designated National Historic Landmark By Marilyn Gilroy iego Riveraâ&#x20AC;&#x2122;s ground-breaking murals at the Detroit Institute of Arts (DIA) have received national historic landmark status. The murals join other sites across the country recognized as places that possess exceptional value and quality in illustrating or interpreting the heritage of the United States. The Detroit Industry fresco cycle was conceived by Rivera as a tribute to the city's manu-

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facturing base and labor force of the 1930s. He completed the 27-panel work in 11 months, from April 1932 to March 1933. It is considered the finest example of Mexican mural art in the United States, and historical notes say the artist thought it the best work of his career. The announcement was made earlier this year by the National Historic Landmarks Program, one of

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A PE RR T SS P E C T I V E S more than a dozen programs administered by the National Park Service that provide states and local communities technical assistance, recognition, and funding to help preserve the nation’s shared history and create close-to-home recreation opportunities. The murals were first identified for designation through a Park Service initiative that selected prominent potential historic sites related to Latino culture. Many art critics have called the murals “iconic” and have dubbed them “the United States’ finest, modern monumental artwork devoted to industry.” The work was commissioned during the emergence of mural art in the U.S. between the Depression and World War II. Edsel Ford, the son of Henry Ford and president of the car company that bears the family name, and William Valentiner, the director of the Detroit Institute of Arts at the time, contracted with Rivera to paint murals for the museum's Garden Court. The only rule was the work must relate to the history of Detroit and the development of industry. It was the type of commission that appealed to Rivera’s Marxist belief that art belonged on public walls rather than in private galleries. According to the DIA description of the work, the medium of the fresco, where paint is applied to wet plaster in vast settings, allowed Rivera to explore grand and complex themes, which would be accessible to a large audience. In Mexico, Rivera's murals tied modern Mexican culture to its indigenous roots, revealing the ancient Indian cultures as Mexico's true heritage. Similarly, Rivera's Detroit Industry murals depict industry and technology as the indigenous culture of Detroit. Some of the images used in the murals provoked controversy. There are nudes representing fertility and workers of different races working side by side.

One newspaper called the works “coarse, vulgar and un-American.” There were editorials calling for the murals to be destroyed. The murals and the art collection at the Detroit Institute of Arts have been in the news during the past year as part of the assets at risk in Detroit’s bankruptcy. According to the Detroit Free Press, the historic landmark designation offers some technical preservation assistance but does not protect from change of ownership. Some of the city’s creditors have advocated selling DIA assets to pay debts. Those in charge of the current restructuring plan for the city have sought protection for the DIA from being forced to sell its art to solve the financial crisis.

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PERSPECTIVES

From the

Scholars’ Corner

By Argelia Lara, 2013 Graduate Fellow PhD candidate, Social Science and Comparative Education Division, Race and Ethnic Studies Concentration, Graduate School of Education and Information Studies, University of California Los Angeles African-American and Latina/o students in the United States continue to lag behind their white and Asian counterparts as it pertains to educational attainment. Latina/o students in particular continue to be the most underrepresented of all groups along every sector of the educational pipeline. Citizenship status has been identified as a critical factor impacting the educational attainment of Latina/o immigrant students, particularly those students of Mexican origin (Covarrubias & Lara, 2013). For example, U.S.-born, Mexican-origin students have higher high school, college, and graduate school attainment rates, and higher college enrollment rates than foreign-born and non-citizen Mexican students. Ideally, creating avenues for immigrant families to gain legal residency would eliminate pressing barriers immigrant students encounter and would send a powerful message nationally that any form of racism and discrimination based on nativism and xenophobia will no longer be tolerated. My interest in addressing social justice issues through education began as an undergraduate student working for the California Mini-Corp Program and teaching the children of migrant farmworkers. These students faced unjust living and schooling conditions due to high levels of poverty, inadequate access to health care, and language barriers. Many of these students were undocumented. Though undocumented migrant students were afforded a K-12 education, once they graduated from high school, they faced formidable barriers as they were ineligible for federally-funded programs including financial aid, complicating their pursuit of their goals and dreams. As a doctoral student at the University of California, Los Angeles, my research interests

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consist of investigating the educational experiences of immigrant students, more specifically, undocumented students who have earned a baccalaureate degree and enroll in postgraduate education. To arrive at a more nuanced understanding of educational inequalities effecting immigrant students, my research draws from critical race theory in education as an important framework centering on their lived experiences navigating and traversing physical and metaphorical borders. With the guidance of professors and mentors at UCLA, I have been trained in qualitative research methods and understand the critical role that empirical research can play informing policy creation and implementation to help address and redress the unequal schooling and community conditions these populations encounter as they navigate through the educational pipeline. As a 2013 American Association of Hispanics in Higher Education Graduate Fellow, I had the privilege to expand my academic and professional networks with current and past faculty and graduate fellows and expand my knowledge base through a series of informative training sessions and workshops. The AAHHE conference helped me build strong relationships with a cadre of critical scholars who are deeply committed and passionate about many similar issues. Being part of the AAHHE 2013 cohort of graduate fellows was an eye opening experience that increased my awareness and confidence as a social science scholar. Ideally, I hope to replicate AAHHE’s mission and invest in future generations of Latina/o students as I ‘pay it forward,’ striving toward improving the educational conditions of underrepresented immigrant students.

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Gabriel García Márquez By Gustavo A. Mellander April 17, 2014, one of the most renowned Latin American authors of the 20th century died in Mexico. Gabriel García Márquez was 87 years old. Born in Colombia, his parents wanted him to be a lawyer but he always wanted to write. Acquiescing to their wishes, he enrolled in law school. It did not last long; he quit and became a working journalist. A crusading journalist one might say. He worked in several Latin American and European countries for many years. Affectionately known as Gabo, he was respected from the very beginning, first as a journalist and later for his novels and short stories. He was widely recognized as one of Latin America’s literary giants. With his keen eye for corruption and encroaching imperialism, and armed with a sharp pen, he wrote many acclaimed nonfiction works. Some readers only saw his political views and missed his artistry. His short stories and novels, particularly One Hundred Years of Solitude, The Autumn of the Patriarch and Love in the Time of Cholera, earned him critical recognition and commercial success worldwide. During his lifetime he received many literary awards. Notable among them was the Neustadt International Prize for Literature in 1972 and the Nobel Prize in Literature in 1982. The Nobel committee described his work as a genre “in which the fantastic and the realistic are combined in a richly composed world of imagination.” He was a master storyteller with an incredible imagination. He helped popularize the emerging vivid literary style known as “magic realism.” Therein he employed “magical elements and events in otherwise ordinary and realistic situations.” He also was noted for invariably returning time and time again to explore the theme of solitude, a seminal characteristic he felt all humans share.

Childhood García Márquez’s father, a pharmacist, moved to Barranquilla with his wife and left a very young García Márquez in care of his maternal grandparents. His years with them were among his happiest and provided much fodder for his writing. Many of his stories occur in the fictional village of Macondo loosely based on his native hometown. He believed every day offered a new beginning. As he wrote he, “allowed himself to be swayed by his conviction that human beings are not born once and for all on the day their mothers give birth to them, but that life obliges them over and over again to give birth to themselves.” García Márquez's political views were shaped by his grand-

father's stories. He recalled “my grandfather the Colonel was a Liberal. My political ideas probably came from him to begin with because, instead of telling me fairy tales when I was young, he would regale me with horrifying accounts of the last civil war that free-thinkers and anti-clerics waged against the Conservative government.” His grandmother was no less influential in his development. He was fascinated how she “treated the extraordinary as something perfectly natural.” His time with her was filled with stories of ghosts and premonitions, omens and portents. All of which were steadfastly ignored by the colonel. According to García Márquez his grandmother was “the source of the magical, superstitious and supernatural view of reality.” He enjoyed her vivid unique way of telling stories. “No matter how fantastic or improbable her statements, she always delivered them as if they were the irrefutable truth.” That deadpan style, some 30 years later, heavily influenced her grandson's most popular novel: One Hundred Years of Solitude. From the very beginning, García Márquez's socialist and anti-imperialist views made him a hero among some and a pariah to others. At times he had difficulty securing a visa to visit the United States. President William Clinton, long a fan of Solitude changed that by lifting the restriction. For years he had wanted to visit the southern part of the United States because he had been inspired by the writings of William Faulkner whom he admired. There are considerable similarities with the fictionalized towns they both created. So in 1961, the family traveled throughout the southern United States on Greyhound buses, so “they could feel the country.” García Márquez had a special affinity with Mexico. He stated he felt he was half Mexican and lived there for decades although he certainly loved his native Colombia.

One Hundred Years of Solitude As a young teenager, García Márquez dreamed of writing a novel based on his upbringing with his grandparents. Intrigued by stories of haunted houses and his hometown where he observed a cauldron of human passions which included examples of both debilitating frailties and enriching acts of nobility. For years he mentally plotted circumstances and scenes for his novel, but he just could not start writing. He struggled to create as he said “an appropriate tone.” One day almost out of the clear blue sky while driving his family to Acapulco the solution came to him. He turned the car around immeHISPANIC OUTLOOK

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diately and returned home so he could begin writing. He was obsessed. He sold his car so the family would have money to live. He wrote and wrote, but writing Solitude took far longer than he anticipated. He wrote every day, seven days a week, for 18 months. Meanwhile his supportive wife finagled food on credit from the butcher and the baker. She also maneuvered to secure nine months of rent on credit from their landlord. Fortunately, when the novel was finally published in 1967 it was an instant commercial success. One Hundred Years of Solitude, sold more than 40 million copies and has been translated into nearly 50 languages. He became a worldwide celebrity. Later that novel would be the linchpin on which the Nobel Literature committee would make their decision. I first read Solitude in Spanish in the 1970s and found his abundant use of Colombian regionalisms distracting. But the power to captivate and touch one’s soul was in full abundance. The story covers several generations of the Buendía family from the time they founded the fictional South American village of Macondo. Raw human nature soaked by pain and unresolved issues pour forth. Love, lust and jealousy are intertwined among generations of births and deaths. The story which could have transpired in any number of small Latin American villages resonated with millions worldwide. Some had come from rural areas but many had not. Such was his grip and understanding of our human condition. His clarity and conglomeration of words is breathtaking. The Chilean writer Pablo Neruda declared García Márquez the greatest writer of the Spanish language since Miguel de Cervantes. I think Solitude should be read three times, at least, in one’s life time. As a youth when we are energized but callow, in middle age when we realize that our childhood dreams are not to be but we know we still have time to create new dreams and accomplish miracles. Finally, it should be read during the winter of our lives to contemplate our lifelong adventures, our good fortune and tragedies.

In Solitude he writes about the transformative power of love. ”He dug so deeply into her sentiments that in search of interest he found love, because by trying to make her love him he ended up falling in love with her. Petra Cotes, for her part, loved him more and more as she felt his love increasing, and that was how in the ripeness of autumn she began to believe once more in the youthful superstition that poverty was the servitude of love. Both looked back then on the wild revelry, the gaudy wealth, and the unbridled fornication as an annoyance and they lamented that it had cost them so much of their lives to find the paradise of shared solitude. Madly in love after so many years of sterile complicity, they enjoyed the miracle of living each other as much at the table as in bed, and they grew to be so happy that even when they were two worn-out people they kept on blooming like little children and playing together like dogs.” Shortly after Solitude was published The Atlantic magazine reviewed it and proclaimed it was “the first piece of literature since the Book of Genesis that should be required reading for the entire human race.” Hundreds of literary critique articles and books of have been published since then. Despite the many accolades the book received, García Márquez tended to downplay its success. He once remarked:

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“Most critics don't realize that a novel like One Hundred Years of Solitude is a bit of a joke, full of signals to close friends; and so, with some pre-ordained right to pontificate they take on the responsibility of decoding the book and risk making terrible fools of themselves.”

He was a modest but very insightful observer of human nature. It is really unusual that the few years he spent with his grandparents had such an impact on his life, his thoughts, and his writings. He said that whenever he wanted to write he would recall those years and re-read his writings such as Solitude for inspiration. As luck would have it, I read an English version of Solitude last year. So it still reverberates in my mind. It was comforting and inspiring. I marvel at his simple yet powerful vocabulary and his juxtaposition of words. I could not help but exclaim “wow!” as I read. I prefer the original Spanish version but many good translations exist. It is really a book that should be read more than once. Upon hearing of his death former President Clinton noted, “I was saddened to learn of the passing of Gabriel García Márquez. From the time I read One Hundred Years of Solitude more than 40 years ago, I was always amazed by his unique gifts of imagination, clarity of thought, and emotional honesty. He captured the pain and joy of our common humanity in settings both real and magical.” A few years ago a friend gave me this compilation of García Márquez’s thoughts. They are quite moving – a good place to end as we remember and pay tribute to an extraordinary writer. I like to read each one separately and slowly. But do what your heart tells you. 1) I love you not for whom you are, but who I am when I’m by your side. 2) No person deserves your tears, and who deserves them won't make you cry. 3) Just because someone doesn't love you as you wish, it doesn't mean you're not loved with all his/her being. 4) A true friend is the one, who holds your hand and touches your heart. 5) The worst way to miss someone is, to be seated by him/her and know you'll never have him/her. 6) Never stop smiling not even when you're sad, someone might fall in love with your smile. 7) You may only be a person in this world, but for someone you're the world. 8) Don't spend time with someone who doesn't care spending it with you. 9) Maybe God wants you to meet many wrong people before you meet the right one, so when it happens you'll be thankful. 10) Don’t cry because it came to an end, smile because it happened. 11) There will always be people who'll hurt you, so you need to continue trusting, just be careful. 12) Become a better person and be sure to know who you are, before meeting someone new and hoping that person knows who you are. 13) Don't struggle so much, best things happen when not expected. Dr. Mellander was a university dean for 15 years and a college president for 20.

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Interesting Reads

Forging People: Race, Ethnicity, and Nationality in Hispanic American and Latino/a Thought Jorge J. E. Gracia, Samuel P. Capen. 2011. 376 pp. ISBN: 978-0-268-02982-1. $30.00 paper. University of Notre Dame Press, (574) 631-6346. http://undpress.nd.edu/

Beyond the University: Why Liberal Education Matters by Michael S. Roth

Contentious debates over the benefits – or drawbacks – of a liberal education are as old as America itself. From Benjamin Franklin to the Internet pundits, critics of higher education have attacked its irrelevance and elitism – often calling for more vocational instruction. Thomas Jefferson, by contrast, believed that nurturing a student’s capacity for lifelong learning was useful for science and commerce while also being essential for democracy. Roth continues this debate. 2014. 240 pp. ISBN: 978-0300175516. $25.00 Cloth. Yale University Press. New Haven, Conn. www.yalepress.yale.edu. (203) 432-0960.

The New Latina's Bible: The Modern Latina’s Guide to Love, Spirituality, Family, and La Vida Paperback by Sandra Guzmán

In this new edition of a book that’s been a go-to guide for young Latinas for years, award-winning journalist Sandra Guzmán tackles the real-world complications facing Latinas today. With warmth, humor, and wisdom, The New Latina’s Bible explores a wide range of issues, touching on everything from family to dating to the workplace. 2011. 384 pp. ISBN: 978-1580053587. $19.95 paper. Seal Press, Berkeley, Calif. www.sealpress.com. (510) 595-3664.

El Salvador Could Be Like That: A Memoir of War, Politics and Journalism on the Front-Row of the Last Bloody Conflict of the U.S.-Soviet Cold War by Joseph B. Frazier

Joe Frazier, a longtime veteran of The Associated Press, covered the bloody civil war in El Salvador in the early 1980s. The conflict between the rightist U.S.-backed government forces and the revolutionary guerrillas represented the last gasp of the U.S.-Soviet cold war and affected every level of Salvadoran society. Frazier chronicles the history and political impact of the conflict.

Many people have tried to explain Hispanic American philosophy as it relates to race relations and ethnic labeling as it relates to the issues of rights, nationalism, power, and identity. Forging People presents those issues from the point of view of Hispanic American thinkers in Latin America and Latino/a philosophers in the United States through a series of essays. The authors set up that premise for Forging People and introduce the essays in an introductory chapter which is followed by essays ranging from Bartolomé de Las Casas on race and the rights of Amerindians; to Simón Bolívar’s struggle with questions of how to forge a nation from disparate populations; to modern and contemporary thinkers on issues of race, unity, assimilation, and diversity. For those readers not familiar with some of the essayists, the authors include brief biographical sketches and reading lists for each section. For instructors wishing to use this book as a classroom resource, this added information is a useful aid for students as well as other readers. The issue of race appears to be central to the authors’ suggested theme. They explain, “The discussion of race in the United States reflects to a great extent the situation in the country. The adoption of the one-drop rule, according to which anyone who has a drop of black blood is considered black, has too often been taken for granted, resulting in a polarization that characterizes both the formulation of problems related to race and the purported solutions to those problems: a person is either black or white but not both; there is no in between. It also has tended to move to the background the visible dimensions of race and to pay undue attention to biological and genetic conceptions of it; heredity, rather than appearance, has often been regarded as most significant. Finally, it has contributed to the widespread use of the metaphor of purity associated with whites and of impurity associated with blacks: to be white is to be uncontaminated, whereas to be black is to be contaminated. That a mixture is generally different from the elements that compose it but partakes of them, that races involve gradation and fuzzy boundaries, and that visible appearance plays an important role in racial classifications are facts too often neglected.” Why is a book of this type so important to understanding race and ethnicity in general? It should be noted that Latin America was the nexus of immigration for Africans, Amerindians, and Europeans. They came together in significant numbers during the 16th century, and created a melting pot of sorts. While Forging People answers many questions about the history of racial, ethnic, and national mixture in the region, it leaves some unanswered questions as well. This book could serve as a roadmap for future scholars to answer those questions.

2013. 230 pp. ISBN: 978-1937902056. $19.95. paper. Karina Library Press, Ojai, Calif. (805) 500-4535. www.karinalibrary.com/monandschuster.com. FAX (800) 943-9831.

Reviewed by Mary Ann Cooper

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By Margaret Sands Orchowski GERMAN TYPE APPRENTICESHIPS IN AMERICA? Paid apprenticeships in companies that then guarantee graduates a job and continual training have been featured recently in The New York Times and on PBS. It’s a system that has worked for centuries in Germany, where today skilled blue-collar careers still are highly valued, unions cooperate with management to set curriculum and wages, and there is a commitment to hire and retain citizen careerists. BMW is conducting apprenticeships in its manufacturing plants in the U.S.A. But enthusiastic American apprentices admit the biggest problem is a “stigma” about not going to college. “Apprenticeships in the U.S. would require a massive cultural attitude change,” they say. CAMPUS BANKING: THE LATEST LEGISLATIVE FOCUS One of the first rites-of-passage of a new college student on campus is maneuvering through the aggressive marketers of bank cards, bank accounts and bank loans. Knowing that most students must have their bank deals co-signed by their parents, banks drool about students as desirable customers. But even more, banks have found university administrators particularly eager to make deals with them to enable students and their parents to charge tuition and other expenses, while a percentage is given back to the college development office (disclosure: for years I have had a CAL Alumni BankAmerica credit card). This spring, legislators on bicameral Banking, Finance, and the Ways and Means Congressional Committees have been trying to insert language that would require more disclosure, transparency and information on deals between banks and universities into Title IV’s cash management rules that are presently under revision by the Department of Education. The concern about campus banking, however, is pretty much drowned out by the debate over less lucrative college loan interest rates to be paid by graduating students.

MILITARY VETS IN COLLEGE FACE WORK EXPERIENCE CREDIT DILEMMA The growth of military veterans enrolling full-time in college (67 percent from 2009-12) is one of the success stories of American higher education. New federal law provides in-state tuition to any service member who has at least 90 days of active-duty service (or up to $17,000 in cash for private school enrollment). Many if not most of these military students will be “non-traditional” (not the 18-22 cohort) with years of work or life experience. There is growing demand that these experiences be given college credit… but how? Increasingly most military volunteers are assigned to combat roles, leaving the ‘skills’ training from radio techs, mechanics and even food and supply management to outside contractors. How are military skills to be assessed – especially the killing ones? WOMEN’S POLITICAL ISSUES LOSING PERSPECTIVE The killing of six UCSB students in May was a horrific tragedy involving a mentally ill, deeply alienated 22-year-old. He was supported by wealthy divorced parents to live in a college community (Isla Vista) without a job, college attendance or any responsible activities. He was enabled to room with naïve foreign students, drive a luxury car to make him ‘feel good’ and (legally) buy multiple guns. There are so many issues involved here, including limits of police action and mental health counseling for a non-student. But women’s groups immediately tried to make the killings about ‘misogamy’ in their increasingly manic focus on assault (of women) on college campuses. Many in the media including NPR’s “On The Media,” responded in kind. But the tragedy at UCSB was not a woman’s assault focus issue. Nor is student debt “a woman’s issue” as women legislators are trying to make it, in legislation introduced by Sen. Elizabeth Warren, D-Mass., in late June. Attempts by women political strategists desperate to appeal to their narrow identity group and spin almost every issue as a “woman’s issue,” has become nonsensical. This was clear in a muchballyhooed one day conference in Washington D.C. on “women’s empowerment” last fall. Organized by Kennedy descendant Maria Shriver, dozens of famous women were interviewed about increasing women’s rights on issues such as work hours, child care, promotions, education and health care. But there wasn’t one issue that did not equally pertain to men. Defining such issues in terms of women victim-group targets can polarize the hunt for solutions. Crucial issues such as access to guns, mental health treatment, parental responsibility and family-friendly work places are problems that all Americans need to debate as broad-based community concerns. Journalists and academics especially need to be careful about falsely narrowing dramatic news events to fit a particular politically-correct identity group’s agenda. Margaret (Peggy Sands) Orchowski was a reporter for AP South America and for the United Nations in Geneva, Switzerland. She earned a doctorate in international educational administration from the University of California-Santa Barbara. She lives in Washington, D.C., where she was an editor at Congressional Quarterly and now is a freelance journalist and columnist covering Congress and higher education.

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The University of Chicago Booth School of Business wishes to hire tenure-track faculty in the area of organizations and strategy. We will consider candidates completing their PhD as well as more experienced candidates. Typically, candidates are intellectually grounded in organizational theory, social psychology, sociology, or strategy, but we regularly consider applications from other intellectual traditions. More critical is whether the candidate has clear promise of research productivity and talent for bringing empirical data to bear on theoretical questions. The Chicago organizations and markets group (O&M) develops theory and research on organizations and markets, the ways in which actors organize to manage their variable interdependence, and the attitude and behavior implications of their social organization. We are especially interested in people skilled in network analysis, however our taste in substantive applications is broad. This year we are especially interested in people whose work contributes to economic theory and analysis of social organization. Appointments would begin in the 2015-16 academic year. We will begin reviewing applications on November 1, 2014 and encourage you to complete your application by then. We will continue to accept applications until December 1, 2014. Please submit an application online, including a cover letter briefly describing your plans for future work, a vita, a written sample of your work, and the names of two references at http://www.chicagobooth.edu/faculty/openings. The University of Chicago is an Affirmative Action/Equal Opportunity /Disabled /Veterans Employer.

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Assistant Professor â&#x20AC;&#x201C; Quantitative Marketing Cornell is a community of scholars, known for intellectual rigor and engaged in deep and broad research, teaching tomorrowâ&#x20AC;&#x2122;s thought leaders to think otherwise, care for others, and create and disseminate knowledge with a public purpose. Responsibilities: The successful candidate is expected to establish a distinguished program of research (50%) and teaching (50%). Applicants are sought in the area of quantitative marketing and we seek candidates whose research interest link well to one of the other management related research areas within the Charles H. Dyson School of Applied Economics and Management (Agribusiness, Behavioral Economics, Entrepreneurship and Innovation, Environmental Energy and Resource Economics, Food Industry Management, International and Development Economics, Marketing, and Strategy). Opportunities: The position will carry teaching, research, and service responsibilities. Teaching responsibilities include undergraduate and graduate level marketing courses, including, but not limited to, marketing research, business intelligence, decision modeling, database marketing, data mining and big data, retailing, brand management or competitive intelligence. The successful candidate will have a Ph.D. in marketing, economics or a related field, currency in the academic field described above as demonstrated by a research track record, evidence of teaching excellence at the undergraduate and graduate levels in a technology-enabled classroom environment, and a capacity for collaboration and collegial service. An enthusiastic interest in undergraduate teaching and advising is essential. The successful candidate will be expected to teach two undergraduate level courses during the first three-year appointment period, adding a third course after reappointment following the third year. There are also teaching opportunities at the graduate level, especially since the faculty of the Charles H. Dyson School consists primarily of applied economists who have a long standing tradition of problem-solving research that relates to issues of interest to business managers and those who work with them. Candidates of particular interest will have research interests that integrate well with incumbent School faculty research interests in four areas (Management, International and Development Economics, Environmental and Resource Economics, and Food and Agricultural Economics). Dyson faculty members also work with faculty and students in the Johnson Graduate School of Management, the School of Hotel Administration, and the broader economics and business communities at Cornell. The successful candidate will develop a distinguished program of research in quantitative marketing, publishing in leading outlets appropriate to his or her areas of specialization and obtaining sufficient external funding support to maintain a productive and visible research program. He or she will be expected to advise M.S. and Ph.D. thesis research. The Charles H. Dyson School of Applied Economics and Management, and the College of Agriculture and Life Sciences at Cornell embrace diversity and seek candidates who will create a climate that attracts students of all races, nationalities and genders. We strongly encourage women and underrepresented minorities to apply. Application: Electronically submit to email to https://academicjobsonline.org/ajo/4144 your letter of application summarizing research and teaching interests; curriculum vita; reprints of selected major papers; graduate transcript; and three references (to be sent directly by the references). Salary: Competitive and commensurate with qualifications and experience. An attractive fringe benefit package is included. Closing Date: Review of applications will begin September 15, 2014, and continue until acceptable candidates are identified. Qualifications: A Ph.D. in marketing, applied economics, economics or a closely related field is required. Preference may be given to individuals with relevant experience in teaching at the college/university level and/or evidence of research competence. Cornell University is an innovative Ivy League university and a great place to work. Our inclusive community of scholars, students and staff impart an uncommon sense of larger purpose and contribute creative ideas to further the university's mission of teaching, discovery and engagement. Located in Ithaca, NY, Cornell's far-flung global presence includes the medical college's campuses on the Upper East Side of Manhattan and in Doha, Qatar, as well as the new CornellNYC Tech campus to be built on Roosevelt Island in the heart of New York City.

Diversity and Inclusion are a part of Cornell University's heritage. We're an employer and educator recognized for valuing AA/EEO, Protected Veterans, and Individuals with Disabilities.

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The Hispanic

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Assistant Professor Non-Profit Management and Strategy

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The University of Chicago Booth School of Business invites applications for tenure-track positions at the assistant or associate professor levels in operations management for the 2015-16 academic year. Successful candidates will have outstanding research abilities and will be committed to achieving excellence in teaching operations management at the MBA level. The candidate must have obtained, or expect to obtain shortly, a PhD or equivalent degree in Operations Management, Operations Research, Management Science, Industrial Engineering, or a related field. If you are presenting at the INFORMS National Meeting, then submitting at least a partial packet by October 24, 2014 with your session information would be helpful. We will begin formally reviewing applications on November 24, 2014 and strongly encourage you to complete your application by then. We will continue to accept applications until January 31, 2015. Applications will be accepted online at http://www.chicagobooth.edu/faculty/openings. At that website, you will be asked to submit two letters of reference (sent separately by the writer), a current vita, and copies of at most two research papers. The University of Chicago is an Affirmative Action/ Equal Opportunity/Disabled/Veterans Employer.

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Cornell is a community of scholars, known for intellectual rigor and engaged in deep and broad research, teaching tomorrowâ&#x20AC;&#x2122;s thought leaders to think otherwise, care for others, and create and disseminate knowledge with a public purpose. Responsibilities: The successful candidate is expected to establish a distinguished program of research (50%) and teaching (50%). We seek applicants in the area of strategy with a focus on the management for not-for-profit objectives. Research and teaching in this area could include the management of notfor-profit enterprises, corporate social responsibility, social entrepreneurship, organizations' interplay with the regulatory environment, the detection and prevention of malfeasance, and related topics. Opportunities: The position will carry teaching, research, and service responsibilities. Teaching responsibilities include undergraduate and graduate level courses in organizations' strategic management for not-for-profit outcomes. Potential courses include, but are not limited to, management of not-for-profit enterprises, corporate social responsibility, social entrepreneurship, and sustainable business. An enthusiastic interest in undergraduate teaching and advising is essential. The successful candidate will be expected to teach two undergraduate level courses during the first three-year appointment period, adding a third course after reappointment following the third year. There are also teaching opportunities at the graduate level. Faculty in the areas of management and applied economics comprise the Charles H. Dyson School which has a long standing tradition of problem-solving research that relates to issues of interest to private and public sector managers and those who work with them. Candidates of particular interest will have research interests that integrate well with incumbent School faculty research interests in four broad program areas (Management, International and Development Economics, Environmental and Resource Economics, and Food and Agricultural Economics). Dyson faculty members also work with faculty and students in the Johnson Graduate School of Management, the School of Hotel Administration, the School of Industrial and Labor Relations, and the broader economics community at Cornell. The successful candidate will develop a distinguished program of research in strategy with a focus on non-profit outcomes, publishing in leading outlets appropriate to his or her areas of specialization and obtaining sufficient external funding support to maintain a productive and visible research program. He or she will be expected to advise M.S. and Ph.D. thesis research. The Charles H. Dyson School of Applied Economics and Management, and the College of Agriculture and Life Sciences at Cornell embrace diversity and seek candidates who will create a climate that attracts students of all races, nationalities, religions, genders and sexual orientations. We strongly encourage women and underrepresented minorities to apply. Application: Electronically submit via email to https://academicjobsonline.org/ajo/jobs/4135 your letter of application summarizing research and teaching interests; curriculum vita; reprints of selected major papers; graduate transcript; and three references (to be sent directly by the references) to the attention of Christopher Barrett, David J. Nolan Director. Salary: Competitive and commensurate with qualifications and experience. An attractive fringe benefit package is included. Closing Date: Review of applications will begin immediately and continue until acceptable candidates are identified. Qualifications: A Ph.D. in management, economics or a closely related social or behavioral science discipline with an established record of high-quality empirical research and teaching aptitude. Cornell University is an innovative Ivy League university and a great place to work. Our inclusive community of scholars, students and staff impart an uncommon sense of larger purpose and contribute creative ideas to further the university's mission of teaching, discovery and engagement. Located in Ithaca, NY, Cornell's far-flung global presence includes the medical college's campuses on the Upper East Side of Manhattan and in Doha, Qatar, as well as the new CornellNYC Tech campus to be built on Roosevelt Island in the heart of New York City.

Diversity and Inclusion are a part of Cornell University's heritage. We're an employer and educator recognized for valuing AA/EEO, Protected Veterans, and Individuals with Disabilities.

AUGUST 4, 2014

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California State University, Long Beach California State University, Long Beach (CSULB) is one of the largest and most comprehensive public universities in the nation, enrolling approximately 35,000 students. CSULB is located in Long Beach, the seventh largest city in California, on a beautifully landscaped 320-acre campus near the ocean and in close proximity to the thriving downtown Long Beach area. CSULB is a diverse and ambitious institution that is proud to be among the nation’s premier comprehensive universities. The faculty and staff of CSULB are engaged in a broad array of high-quality undergraduate and graduate programs, significant research and creative activities, and a wide range of community and professional service activities. CSULB seeks outstanding, publicly engaged leaders to join a dedicated leadership team that is committed to advancing the University's broad and forward-seeking mission. Read more at www.csulb.edu.

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California State University, Long Beach seeks an outstanding and talented professional to join the campus community as the Associate Vice President for Faculty Affairs (AVPFA). The Associate Vice President for Faculty Affairs serves as a member of the Provost's administrative team. The AVP oversees implementation of all faculty personnel processes, policies, and procedures; provides counsel and advice to the Provost on all faculty personnel matters; provides leadership to develop new faculty personnel policies and procedures for the campus. Has oversight responsibility for Academic Employee Relations, the Faculty Center for Professional Development, and several professional staff. We seek an individual who is committed to the mission and vision of the University, who has a demonstrated commitment to academic excellence, who is experienced in research, publication, scholarly/creative activity, and who has a record of integrity and ethical leadership. Applications and nominations for this position are currently being accepted. For a more detailed job description visit www.csulb.edu/aa/personnel/jobs Appointment is effective on or about January 1, 2015. Review of applications to begin on September 25, 2014. Position open until filled. An official transcript from institution awarding highest degree, and a signed SC-I form will be requested of finalists. To ensure full consideration, applicants should submit the following documents electronically to stsearch@storbeckpimentel.com Code: CSULB AVPFA: a letter of application addressing Minimum Qualifications and Desired/Preferred Qualifications, academic resume, and the names, addresses, telephone numbers, and email addresses of five professional references. Sharon Tanabe, Partner & Emy Peña, Principal Storbeck/Pimentel & Associates 1111 Corporate Center Drive, Suite 106 Monterey Park, CA 91754 For a confidential inquiry or nomination contact either Ms. Tanabe or Ms. Peña at (323) 260-5040. CSULB is committed to creating a community in which a diverse population can learn, live, and work in an atmosphere of tolerance, civility and respect for the rights and sensibilities of each individual, without regard to race, color, national origin, ancestry, religious creed, sex, gender identification, sexual orientation, marital status, disability, medical condition, age, political affiliation, Vietnam era veteran status, or any other veteran's status. CSULB is an Equal Opportunity Employer.

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CAL STATE EAST BAY – Tenure-Track Faculty Positions for 2015-16

Personal. Professional. Achievable. Cal State East Bay is known for award-winning programs, expert instruction, diverse student body - and a choice of more than 100 career-focused fields of study. There are two scenic campuses - one in the Hayward Hills, overlooking San Francisco Bay, and the other in the Concord foothills of Mt. Diablo - plus a professional center in dynamic downtown Oakland and many online programs. Position announcements posted can be found at: http://www20.csueastbay.edu/oaa/jobs/csuebtt.html (Home Department noted in parentheses) COLLEGE OF BUSINESS AND ECONOMICS 1. Accountancy (Accounting and Finance) 2. Econometrics (Economics) 3. Strategy, International Business (Management) 4. Marketing (Marketing and Entrepreneurship) COLLEGE OF EDUCATION AND ALLIED STUDIES 5. Social Justice Research, Evaluation and Assessment (Educational Leadership) 6. Hospitality Management (Hospitality, Recreation and Tourism) 7. Exercise Physiology, Wellness, Performance Evaluation (Kinesiology) 8. English Language Development with Content Expertise in an Area Common to K-12 Schools (Teacher Education) COLLEGE OF LETTERS, ARTS, AND SOCIAL SCIENCES 9. Archaeology (Anthropology, Geography and Environmental Studies) 10. Art History (Art) 11. Speech-Language Pathology (Communicative Sciences and Disorders) 12. Globalization (History) 13. Keyboard Studies, Music Theory (Music) 14. American Government (Political Science) 15. MPA Program: Theory, Ethics (Public Affairs and Administration) 16. Child Welfare (Social Work) COLLEGE OF SCIENCE 17. Microbiology (Biological Sciences) 18. Civil / Construction Engineering (Engineering) 19. Computer Engineering (Engineering) 20. Computer Science – Big Data to Cloud Computing (Mathematics and Computer Science) 21. Department Chair – (Nursing and Health Sciences) 22. Nursing – Medical/Surgical (Nursing and Health Sciences) 23. Health Sciences – Pre-Clinical, Administration and Management (Nursing and Health Sciences) 24. Astronomy / STEM Education (Physics) 25. Industrial/Organizational/Social Psychology (Psychology) UNIVERSITY LIBRARIES 26. Nursing / Scholarly Communication CSU East Bay is an Equal Opportunity Employer. Women and minorities are strongly encouraged to apply. Criminal background check required at time of hire. You can view and hear statements from some of our new faculty at CSUEB at: http://www.youtube.com/embed/ghGBehC1Ls0

The University of Chicago Booth School of Business is seeking to appoint outstanding scholars to tenure-track positions in Accounting which would begin in the 2015-16 academic year. Applications are invited from individuals who have earned a PhD (or equivalent) or expect to receive a doctorate in the near future. Members of our faculty are expected to conduct original research of exceptionally high quality, to teach effectively, and to participate in and contribute to the academic environment. Junior candidates will be judged on potential, and we will rely heavily on the advice of established scholars. Each candidate should submit a curriculum vita, a sample of written work, and the names of at least two scholars qualified and willing to evaluate the candidate’s ability, training, and potential for research and teaching. Applications will be accepted online at http://www.chicagobooth.edu/faculty/openings. We will start formally reviewing applications on November 24, 2014 and we will continue to accept applications until January 31, 2015. However, we strongly encourage you to submit your application by November 24, 2014 so that we are able to conduct interviews for select candidates at the 2014 Accounting Rookie Recruiting Camp that is held in Miami, Florida during the 1st weekend of December. The University of Chicago is an Affirmative Action/ Equal Opportunity/Disabled/Veterans Employer.

2014-2015 Tenure-Track Searches College of Business Administration Accountancy x Assistant/Associate Professor (2 positions) Management & Human Resources Management x Assistant/Associate Professor (2 positions) Marketing x Assistant/Associate Professor (3 positions) For more information, visit www.csulb.edu/aa/personnel/jobs CSULB is committed to creating a community in which a diverse population can learn, live, and work in an atmosphere of tolerance, civility and respect for the rights and sensibilities of each individual, without regard to race, color, national origin, ancestry, religious creed, sex, gender identification, sexual orientation, marital status, disability, medical condition, age, political affiliation, Vietnam era veteran status, or any other veteran's status. CSULB is an Equal Opportunity Employer.

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CALIFORNIA STATE UNIVERSITY, EAST BAY

FOUR FULL-TIME TENURE-TRACK POSITIONS FOR 2015-2016 Affinity Group – College of Letters, Arts, and Social Sciences Departments of Anthropology, Geography & Environmental Studies; Ethnic Studies; Philosophy; Sociology and Social Services THE UNIVERSITY: California State University, East Bay (CSUEB) is known for award-winning programs, expert instruction, a diverse student body of over 14,000 students, and a choice of more than 100 career-focused fields of study. The University has campuses in Hayward, Contra Costa County, Online, and in Oakland, California. Our 600 faculty offer bachelor's degrees in 42 fields, minors in 62 fields, master's degrees in 36 fields, and 1 doctoral degree program. http://www20.csueastbay.edu/ Teaching Sustainability in Diversity California State University East Bay announces the following positions revolving around a New Cohort Theme of Teaching Sustainability in Diversity. The university wishes to emphasize the specific Institutional Learning Outcomes that ensure that our students will learn to: 1) communicate ideas, perspectives, and values clearly and persuasively while listening openly to others; 2) apply knowledge of diversity and multicultural competencies to promote equity and social justice in our communities; and 3) act responsibly and sustainably at local, national, and global levels. Candidates for the following four positions will demonstrate an interest in interdisciplinary collaborations directed towards educational models that promote student learning in an integrative approach to social justice and sustainability. The new faculty in Anthropology, Ethnic Studies, Philosophy, and Sociology will work with Faculty Mentors from each of these departments in order to build collaborative structures supporting the themes ILOs. Though collaboration will be expected, each position will be solely housed in the hiring department. PLEASE NOTE that ALL candidates should address the following in their application: 1) the cohort theme of Teaching Sustainability in Diversity: candidates must have an interest in interdisciplinary collaborations directed toward educational models that promote student learning in an integrative approach to social justice and sustainability; 2) candidates should demonstrate experience in teaching, mentoring, research, or community service that has prepared them to contribute to our commitment to diversity and excellence; 3) candidates must demonstrate a record of scholarly activity. Teaching assignments at California State University, East Bay include courses at the Hayward, Concord and Online campuses. In addition to teaching and research, all faculty have advising responsibilities, assist their departments with administrative and/or committee work, and are expected to assume campus-wide committee responsibilities. 1) ARCHAEOLOGY OF THE AMERICAS (Pos. #15-16 AGES-ARCHAEOLOGY-TT) DUTIES OF THE POSITION: Teaching responsibilities will include the core lower-division courses in anthropology with additional coursework assigned. The successful candidate will also assume significant responsibility and a leadership role in the C. E. Smith Museum of Anthropology. RANK AND SALARY: Assistant Professor. Salary is dependent upon educational preparation and experience. Subject to budgetary authorization. QUALIFICATIONS: Candidates are required to have an earned doctorate at time of the effective date of the appointment. Demonstrated record of research and scholarly activity in archaeology of the Americas and archaeological field methods with additional areas of prehistoric ecological resource management/food production required. Experience in the use of information technology and innovative media in public dissemination is required. Training in research methods and experience teaching archaeology field and lab-based courses, including direct teaching of Geographic Information Systems (GIS) is preferred. Connections in cultural resource management in applied archaeology, and digital collections management, including knowledge of spatial data (DGPS and total station) acquisition and management, and data architecture/management is preferred. 2) AFRICAN AMERICAN STUDIES (Pos. #15-16 ETHN-AFRICANAMERICAN-TT) DUTIES OF THE POSITION:The successful candidate will teach coursework within the area of African American studies with an emphasis on African American social justice. The successful candidate will also teach other coursework as assigned within the Department of Ethnic Studies. The successful candidate will be required to collaborate with other hires within the 2015 new hire cohort theme of Teaching Sustainability in Diversity towards producing and implementing educational models that promote student learning in an integrative approach to social justice and sustainability. Successful candidate will be required to work with cross-campus initiatives to increase African-American student retention and graduation rates. RANK AND SALARY: Assistant Professor/Associate Professor. Salary is dependent upon educational preparation and experience. Subject to budgetary authorization. QUALIFICATIONS: Earned Ph.D. in Ethnic Studies or an allied field/discipline with specialization in African American Studies at time of appointment is required. Research in social justice within in an African American context as demonstrated by a record of scholarly achievement is required. Additional expertise and training in one or more of the following areas is preferred: sustainability/environmental racism, women of color feminism/womanism; civil rights movements; prison abolition movements; African-American GLBTQ activism; transnational organizing; structural inequality in education; and /or restorative justice. Additionally, candidates must have a demonstrated ability to teach effectively; experience working with a diverse student population, including first generation college students and students whose first language is not English. Experience with online coursework preferred. 3) PHILOSOPHY OF SCIENCE AND ENVIRONMENTAL ETHICS (Pos. #15-16 PHIL-SCIENCE/ENVIRONMENT-TT) DUTIES OF THE POSITION: The successful candidate will teach coursework in the Philosophy of Science along with additional coursework as assigned. The successful candidate will be required to collaborate with other hires within the 2015 new hire cohort theme of Teaching Sustainability in Diversity towards producing and implementing educational models that promote student learning in an integrative approach to social justice and sustainability. RANK AND SALARY: Assistant Professor. Salary is dependent upon educational preparation and experience. Subject to budgetary authorization. QUALIFICATIONS: Earned doctorate in Philosophy at time of appointment with specialized preparation in the Philosophy of Science and Environmental Ethics is required. Additional competency in one of the following areas is preferred: History of Science and/or Science and Ethics (particularly in the field of Biology) and/or Philosophy of Technology. Candidates with successful undergraduate teaching experience are preferred. Specific teaching experience within the California State University system is preferred. Candidates must demonstrate an interest in interdisciplinary collaboration, especially in the areas of social justice, sustainability, and pedagogy. Candidates must address the New Cohort Theme of Teaching Sustainability in Diversity, which will emphasize the specific Institutional Learning Outcomes that ensure that our students will learn to: 1) communicate ideas, perspectives, and values clearly and persuasively while listening openly to others; 2) apply knowledge of diversity and multicultural competencies to promote equity and social justice in our communities; and 3) act responsibly and sustainably at local, national, and global levels. 4) SOCIOLOGY OF EDUCATION (Pos. #15-16 SOC-EDUCATION-TT) DUTIES OF THE POSITION: This position is part of a special affinity hire project entitled Teaching Sustainability in Diversity. The affinity project requires that the successful candidate collaborate with four other new hires from different departments on campus-based teaching and learning that addresses two related Institutional Learning Outcomes, Social Justice and Sustainability. The successful candidate will participate in analyzing the role of educational institutions in promoting social justice and sustainability. The successful candidate will be assigned coursework in the Sociology of Education, any secondary areas of specialization, and other coursework as assigned. RANK AND SALARY: Assistant Professor. Salary is dependent upon educational preparation and experience. Subject to budgetary authorization. QUALIFICATIONS: Earned Ph.D. in Sociology at time of appointment with primary specialization in Sociology of Education is required. Knowledge of socio-historical trends in education; current educational policies and their impact on diverse groups; social inequalities and educational outcomes; cross-cultural/global perspectives on education; and, immigration and education is required. Also, evidence of the ability to analyze the growth, implementation, or effectiveness of sustainability in K-12 curriculum is preferred. The secondary area of specialization is open, but preference will be given to candidates whose area is globalization or research methods. CSU East Bay is fully committed to the rights of students, staff and faculty with disabilities in accordance with applicable state and federal laws. For more information about the University’s program supporting the rights of our students with disabilities see: http://www20.csueastbay.edu/af/departments/as/ Date of Appointment for All Positions: Fall 2015 APPLICATION PROCEDURE FOR ALL FOUR POSITIONS LISTED ABOVE: APPLICATION PACKETS: Please submit a letter of application for the appropriate position, which addresses the qualifications noted in the position announcement; a complete and current vita at https://my.csueastbay.edu/psp/pspdb1/EMPLOYEE/HRMS/c/HRS_HRAM.HRS_CE.GBL NOTE: California State University, East Bay hires only individuals lawfully authorized to work in the United States. All offers of employment are contingent upon presentation of documents demonstrating the appointee's identity and eligibility to work, in accordance with the provisions of the Immigration Reform and Control Act. If you are considered as a finalist for the position, you may be subject to a background check. CSUEB is an Equal Opportunity Employer. Learn more about CSU East Bay at: http://www.youtube.com/embed/ghGBehC1Ls0

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Priming the Pump… Being Selective With Screen Time Helps Students Learn By Miquela Rivera, PhD recent news report stated that 67 percent of children in the United States have televisions in their bedrooms. That is nothing to brag about. A child with a TV in his room is a child whose parents really aren’t doing him any favors. Hispanics included. One way to help a child prepare for higher education is to disallow a bedroom television. (Defensive parents purport that they don’t let their kids have televisions in their rooms, but children now stream television shows on their computers, isolated in their rooms). My point: Limit sequestered viewing to monitor and guide the quantity and quality of children’s viewing. Why? Children with unlimited viewing time have lessened chances of knowing limits or exercising discretion in other areas of life than children who watch programming with family or under parental supervision. If children are free to watch anything, that is exactly what they will watch – for hours on end. Parents who know what their children view, who occasionally watch along and then discuss with them what was seen can use television as a tool for learning and getting to know and understand their children. Time in front of a tube usually means less time exercising. (The Wii doesn’t count). With the high rates of diabetes among Hispanics, young Latinos can use exercise. And in early childhood, movement helps solidify learning. Either way, turning off the television helps children get moving. When kids are tuned into a screen, they are not actively tuned into other people. Woe to youngsters whose main peer relationships are virtual or whose main “reading” time is time spent texting. Life happens here. Now. In person. Speaking of reading – if a child watches too much television, the chances are great he is not reading enough. (Unfortunately, those children who do not read anything except that which is assigned are the ones that need the extra reading time the most). Surfing the net often requires reading, but it is no substitute for quality literature that teaches children other critical thinking skills and whets their appetite for writing. And youngsters with excessive screen time more often fail to do their homework.

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When parents lament that their children do not pay attention to what they say, I ask if there is a television in the child’s bedroom. In most cases, there is. For children with attention-related problems or those who otherwise have difficulty complying with directions or observing limits set by others, too much television fuels the problem. After an hour of screen time children are less apt to focus on a live person making requests. They can’t shift gears from the zombie-like trance caused by television. If parents continue to wonder what to do, I will suggest unplugging the tube. “But he’ll get mad,” they often respond. Yes, he probably will. Time spent out of the bedroom and away from the television usually means time spent with family, if parents are willing to invest in the time to talk, play and discover new activities with their children. All of those elements join to prime a child for better academic success. Vocabulary increases, social skills are enhanced, empathy with others develops, creativity soars and a sense of support is fostered when the television is off. Total television turn-off is not the answer. Being selective is. Adults can help children earn screen time and select leisure viewing by setting up what must be done before the “on” button is touched. Whether it is reading, household activities or other family responsibilities, the expectations and boundaries can be more easily set if parents are not competing with the television. Adults can also structure learning through wise use of viewing. These steps, of course, assume that parents or other adult caregivers are willing to follow the same television rules that they expect the children to follow. It is ludicrous (and yes, unfair), for a parent to send the struggling student off to study or read alone as that same adult plops in front of the TV to play Grand Theft Auto or tune into their nightly novela. A powerful message is sent when the child sees a parent set aside his own screen time in favor of time with the child. The children are watching. Miquela Rivera, PhD, is a licensed psychologist with years of clinical, early childhood and consultative experience. She lives in Albuquerque, N.M.