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THE OEI BULLETIN Hispanic Heritage Month
To celebrate Hispanic Heritage Month, we release this bulletin to honor and uplift those who are a part of the Hispanic and Latine communities at Porter’s and beyond. This bulletin discusses the importance of media representation for marginalized groups, the journey of civil rights activist Dolores Huerta, and a book recommendation for The House on Mango Street by Sandra Cisneros. We are also grateful to Dari Rosario and Ivana
16/10/2023
Photo by Alain Bonnardeaux on Unsplash
Rodal Fernandez’s contributions as the guest writers of the month. In Dari’s article, she introduces herself to the Porter’s community and shares her experience as a Dominican-American growing up in New York, and Ivana shares a brief overview of Latin American dancing. At last, we hope everyone enjoyed participating in BLA/HOLA meetings and continues to take time to hear from those within the community even past Hispanic Heritage Month. OEI NEWSLETTER 1
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Who is Dari? By Dari Rosario
When people think of home, you may think of the place where your parents live or where you spend your time after school. The word home for me I is in a different place. Home is the Dominican Republic.
This is my immediate family. They have sacrificed the most to allow me to accomplish my dream. My grandparents (in the middle) came to America and left my mother and uncle at home to be able to create a foundation for them to come to. They worked day and night in jobs that did not pay them enough just to be able to bring their children to something more than what they had in our country. When I was born my family became the village who raised me and never let me miss out on anything growing up. I did everything I could to make them proud and as a thank you for everything they had sacrificed. My family gave me the opportunity to go to college and throughout the way they each helped fund the goal of me being the first generation hispanic college graduate of my family.
This is part of my family. Although we may look like many, we were always there for one another. In the center is my great grandmother. She was an inspiration of mine. She always reminded me whether I was here in New York or back home visiting her at home “Trata de ser mejor que el que hizo el trabajo ante de ti” (Try to be better than the person who did the work before you). These words still continue to play in my mind in everything I do no matter how big or small.
The girl in this picture was a girl who did not understand what her family did for her. She knew that her family moved away from “the farm” and came to New York City. But she never understood why they did that. Fast forward to high school graduation, I realized that they had left home for me to be able to have the future they never had. As a Dominican-American, I was able to have the same opportunities as people here in the US and also give a chance for people of my country to learn how they can also have the same opportunities as I had. 2
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A Brief Overview of Latin American Dancing By Ivana Rodal Fernandez
Latin American dancing is a broad term that encompasses a wide range of dance styles originating from the cultures of Mexico, Central America, and the portions of South America and the Caribbean colonized by the Spanish and the Portuguese. Many of the traditional Latin American dances reflect mixtures of Indigenous, African, and Spanish influences that have spread throughout the region. Many of these dances are characterized by lively rhythms, colorful dressing, and passionate themes. Due to the general broadness of the term, Latin American dance can be broken down into various regional styles and ‘types’ of dance.
The New York Times 2023
In the wider region of Latin America, many A good example of the cultural blend in dance typical and popular dance styles include Salsa and is the Baile Folklorico Mexicano, or Mexican Folklor- Rumba (Cuba), Bachata and Merengue (Dominican ic Dance, which began in central Mexico during the Republic), Cumbia (Colombia), Tango (Argentina Pre-Hispanic era as a ritualistic and celebratory dance and Uruguay), Samba (Brazil), Flamenco (Spain and integral to religious and societal practice. These danc- Mexico), and many others; and they are all characes usually paid respects or homage to gods, celebrated terized by unique rhythm, themes, and a special, inagricultural cycles and milestones, and marked signif- dependent vibrancy to the movement. icant events such as wars, eclipses, or an especially good harvest. With the arrival of Spanish conquisTo say dancing is an integral part of Latin tadors in the early 16th century, Spanish beliefs and American culture is an understatement, as dancing traditions merged with indigenous practices. Dance, has been a medium for cultural expression for centhen, became a tool for religious conversion and cul- turies. It serves as a means to showcase the rich and tural assimilation, with traditional dances adapted to diverse heritage of each region, and is also a huge incorporate Roman-Catholic themes and rhythms. part of social gatherings and celebrations in Latin By the early 20th century, Folkloric dance styles had America, such as weddings, religious festivals, fibeen well-established, such as EL Jarabe Tapatío, El estas, local fairs, or parades; with dancing often at Huapango, or La Danza de Los Viejitos. The Mexi- the heart of these events. It is also tied to a sense can Revolution and the independence of Mexico from of national identity in Latin American countries, Spain brought a renewed interest in indigenous and seen as symbols of cultural pride of the country’s folkloric traditions. Artists, intellectuals, and govern- lineage. People come together to dance, share joy, ment officials saw the value of preserving and pro- and strengthen bonds, making dance a special and moting Mexican culture as a source of national iden- important center of our cultures. tity. In this Hispanic and Latine Heritage month, I encourage everyone to familiarize themselves with the different practices and traditions that make up our cultures, and to appreciate their beauty, utility, and what they provide for Hispanic and Latine individuals as a whole. Happy Hispanic and Latine Heritage Month!
Grupo Xcaret, 2022
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The House on Mango Street by Sandra Cisneros By Aizah Ali
“You will always be Esperanza. You will always be Mango Street.”
The House on Mango Street by Sandra Cisneros is a short yet profound collection of vignettes that takes readers on a poignant exploration of the life of Esperanza Cordero, a Mexican-American girl growing up in Chicago. This novel serves as an examination of Hispanic identity and a coming-of-age narrative that follows Esperanza’s quest to find her place in the world. Set in a run-down neighborhood, Mango Street serves as a microcosm of Esperanza’s existence, populated by a diverse array of characters, each burdened with their own dreams and challenges. Through these glimpses into Esperanza’s daily life, readers gain insight into her aspirations of escaping Mango Street and her struggle to define her identity within a society that often marginalizes individuals of Hispanic descent. Cisneros’ poetic and beautiful prose conveys the profound emotions in this work. She gives readers the opportunity to comprehend the intricacies of being a young Hispanic girl in America, navigating the difficulties of remaining true to one’s cultural heritage while conforming to societal expectations. One of the most notable aspects of The House on Mango Street is
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Cisneros’ portrayal of Hispanic identity. She skillfully interweaves elements of Mexican culture and tradition throughout the narrative, from vibrant celebrations to the bonds of family. The novel also confronts the challenges the Hispanic community faces, including poverty, discrimination, and the struggle for self-expression. It underscores the resilience and fortitude required to overcome these obstacles while maintaining a connection to one’s roots. Esperanza’s character and journey serve as a reminder that our heritage is a source of strength and beauty that should be embraced rather than concealed. In The House on Mango Street, readers are afforded the opportunity to step into Esperanza’s shoes, to experience her dreams and disappointments, and to celebrate the rich tapestry of Hispanic identity that saturates every page. Sandra Cisneros’ The House on Mango Street is a heartfelt work that offers an intimate examination of Hispanic identity. This book will resonate with readers of all backgrounds striving to find their place in the world while remaining true to their heritage.
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Hispanic and Latine Representation in the Media By Mary Zheng
Representation matters, and most people agree. But the American media industry has been boldly resistant to this commitment in its treatment of the Hispanic and Latine communities over the past decade. A report released in 2021 found that only 12% of workers in the media are Hispanic, while they make up 19% of the American population. Hollywood, in particular, has grossly underrepresented and misrepresented the Hispanic community. As the image-defining, narrative-creating institution, it wields the power to shape people’s perception of the world. By seldomly starring Hispanic and Latine actors and only starring them in roles that fit certain cultural stereotypes, it perpetuates a narrow and dehumanizing characterization of the community and thus exacerbates existing ethnic inequalities. In addition to creating biases, underrepresentation of the Hispanic and Latine communities in the media silences voices essential to building diversity. There are 62 million Hispanic and Latine people in America, and they all tell different stories about their lives. These experiences influence the American public and educate them on the vibrant cultures that are often overlooked and generalized. The media’s decision to exclude these experiences from the mainstream narrative creates a homogeneous representation of society that trivializes those who have been historically marginalized. Not only does this exclusive representation reject the Hispanic and Latine community from access to resources in the media industry and beyond, but it also instills in the community internalized discrimination “because who we see thriving in the world teaches us how to see ourselves,” concludes America Ferrare in a TED Talk on her Latina experience in the film industry. To solve the problem of underrepresentation in the media, we need to first acknowledge the importance of on-screen representation. Representation matters because it creates presence, and presence means possibility: the possibility to be seen,
Congressman Joaquin Castro and his brother Julian, former San Antonio Mayor and former Secretary of Housing and Urban Development, speak to the crowd during a “Stand with Uvalde” call to action rally in Travis Park. Robin Jerstad, San Antonio Express-News
America Ferrera speaks at TED2019: Bigger Than Us. April 15 - 19, 2019, Vancouver, BC, Canada. Photo: Ryan Lash / TED
to be recognized, to realize a dream. It is the simplest way to tell someone they are not alone; just through the power of presence, children are privy to professions they never thought to be feasible. Now, we might ask: how can we increase Hispanic and Latine representation in the media? The immediate response might be simple: film industries should star more Hispanic and Latine actors. But this will not happen overnight, and it should not fall victim to tokenism. True representation comes with concrete improvements in the power of a marginalized group, and that power often lies in those who build the narrative: directors, producers, scriptwriters... As Rep. Joaquin Castro of Texas articulates in an interview with NPR, “One of the ways that you begin to fix that problem of inaccurate representation is by including more Latinos and Latinas as C-suite executives, as showrunners and writers.” Strengthening Hispanic and Latine representation is a marathon, not a sprint. While it can be tempting for powerful institutions to brush off the problem with ostensibly efficient solutions, many of these so-called “solutions’’ are no more than bandaids on bullet wounds. A more feasible option might be rooted in the systems on which the country stands, and an important part of that system is education. School plays a crucial role in shaping our worldviews; a school that supports marginalized identities makes students feel seen and recognized, and thus fosters a space inclusive of more voices. Representation can be national, but it can also start local. Seeing a more diverse high school musical cast is one way to encourage Hispanic and Latine students and other students of color to participate in the media industry. While there might be less excitement in a high school theater workshop than in a Hollywood blockbuster production, representation matters equally across the board—there is no need to cast a POC side character just for the sake of meeting diversity requirements.
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Dolores Huerta: An Icon In American Civil Rights By Georgia Achilles
¡Si se puede! Yes, it can be done! These immortal words were coined by one of America’s most influential activists, Dolores Huerta. The phrase is so simple, yet perfectly encapsulates her tireless work and determination. Over the course of her life, Huerta has been a leader in the Chicano movement, feminist movement, civil rights movement, environmental movement, and would engineer a labor union which forever changed American democracy.
Dolores Huerta was born in New Mexico in 1930 and raised primarily by her mother in California. Growing up as a Mexican-American woman, she faced immense prejudice and was, on multiple occasions, a witness to racebased violence against her family. At the age of 25 she took a leadership role in a civic organization called the Stockton Community Service Organization. Here, she would work in community outreach, and help to raise voter turnout in the Hispanic community. It was at this organization she would meet Cesar Chavez, and together they founded the National In 2012, President Barack Obama recognized Huerta with Farmworkers Association (NFWA). At the time, California the Presidential Medal Of Freedom Alex Wong/Getty Images farm workers were primarily Hispanic and Filipino. Mono- in the process. She never settled, comproculture farms would make millions off the backs of disen- mised, or ceased, and was able to secure highfranchised farmworkers, who had no power nor autonomy. er wages, safety protocols, and recognition for These farmworkers would make as little as $1,800 a year NFWA as a union. The NFWA struck again in (roughly $12,500 today), and worked ten hour days with no 1975, resulting in the California Labor Relarestrooms, water, or other necessities. Furthermore, work- tions Act being enacted. This act protects laers were subject to dangerous pesticides, resulting in many bor rights for agricultural workers in the state. developing cancer, stillbirths, miscarriages, and pulmonary These protections set a precedent that gave illnesses. Huerta and Chavez used the NFWA to mobilize more autonomy to farmworkers across the US. workers, and organized the Delano grape strike on a total of twenty farms. The NFWA prompted a boycott of Califor- Dolores Huerta mended a hole in American nia grapes across the United States. Huerta and Chavez led democracy, yet her work is not nearly as apa 340 mile pilgrimage from Delanco, CA to Sacramento. preciated as deserved. She was forced to hide This caught the attention of the media and captivated the her success behind Cesar Chavez, as a woman, country, boosting their message and boycott. After 25 days, especially a woman of color, could not be the the NFWA gathered 10,000 people at the California capi- face of a successful organization at the time. tol, demanding worker’s rights. When it finally came time Her power was terrifying to the white, male, for negotiations, Huerta took the lead, rather than Chavez. conservative California Assembly. Of course, She masterfully negotiated using the impact of personal she was even more threatening to the Delano stories, and humanized farmworkers and Hispanic people grape farms. She was often smeared in the media for being divorced, for being a mother, and for being a powerful woman. A public representative of the Delano grape farms referred to her as “demonic”, “crazy” and “violent”, despite being a non-violent activist. As a Hispanic woman, she worked especially hard, only to face erasure as time passed. In 2012, President Obama awarded Huerta the presidential medal of freedom for her work bettering the country. Now 93, Dolores Huerta has schools, foundations, and monuments in her name, and is still doing interviews and speaking out for her beHuerta organized marchers in Coachella, Calif., in 1969. George Ballis//George Ballis/Take Stock/The Image Work liefs. 6
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The House on Mango Street- Aizah Ali
Bibliography:
Cisneros, Sandra. The House on Mango Street. Bloomsbury Publishing PLC, 2004. “The House on Mango Street.” National Endowment for the Arts, www.arts.gov/initiatives/nea-big-read/housemango-street. Sandra Cisneros, www.sandracisneros.com/.
Hispanic and Latine Representation in the Media - Mary Zheng
Barco, Mandalit del. “Latinos Continue to Be Invisible in Hollywood and the Media, a New Report Finds.” NPR, NPR, 6 Oct. 2022, www.npr.org/2022/10/06/1127234498/latinos-continue-to-be-invisible-in-hollywood-and-the-media-a-new-report-finds. Bowman, Emma. “Hispanics and Latinos Are the Biggest Moviegoers. the Big Screen Doesn’t Reflect That.” NPR, NPR, 15 Sept. 2021, www.npr.org/2021/09/15/1037504461/hispanic-latino-heritage-month-hollywood-movies-usc-annenberg. Brown, Jalen. “Latino Representation in Media Industry Grew by Only 1% in the Past Decade, a New Report Finds.” CNN, Cable News Network, 5 Oct. 2022, www.cnn.com/2022/10/05/us/latino-media-underrepresentation-goa-report-reaj/index.html. Lopez, Mark Hugo. “Who Is Hispanic?” Pew Research Center, Pew Research Center, 5 Sept. 2023, www. pewresearch.org/short-reads/2023/09/05/who-is-hispanic/#:~:text=The%20Census%20Bureau%20estimates%20there,19%25%20of%20the%20nation’s%20population. U.S. Government Accountability. “Hispanic Underrepresentation in the Media.” U.S. GAO, 21 Jan. 2021, www.gao.gov/blog/hispanic-underrepresentation-media#:~:text=Hispanic%20workers%20comprised%20 an%20estimated,estimated%2018%25%20of%20all%20workers.
Dolores Huerta: An Icon In American Civil Rights - Georgia Achilles
“Biography: Dolores Huerta’’. Dolores Huerta Biography, 2023, https://www.womenshistory.org/education-resources/biographies/dolores-huerta. Accessed 18 Sep 2023. Nast, Condé. “Yes, Dolores Can: The 90-Year-Old Activist On Speaking Up, Raising Hell, And Doing The
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