Rita E. Urquijo-Ruiz – författare

Tracing the configuration of the slapstick, destitute Peladita/Peladito and the Pachuca/Pachuco (depicted in flashy zoot suits) from 1928 to 2004, Wild Tongues is an ambitious, extensive examination of social order in Mexican and Chicana/o cultural productions in literature, theater, film, music, and performance art.From the use of the Peladita and the Peladito as stock characters who criticized various aspects of the Mexican government in the 1920s and 1930s to contemporary performance art by MarÍa Elena GaitÁn and Dan Guerrero, which yields a feminist and queer-studies interpretation, Rita Urquijo-Ruiz emphasizes the transnational capitalism at play in these comic voices. Her study encompasses both sides of the border, including the use of the Pachuca and the Pachuco as anti-establishment, marginal figures in the United States. The result is a historically grounded, interdisciplinary approach that reimagines the limitations of nation-centered thinking and reading.Beginning with Daniel Venegas’s 1928 novel, Las aventuras de don Chipote o Cuando los pericos mamen, Rita Urquijo-Ruiz’s Wild Tongues demonstrates early uses of the Peladito to call attention to the brutal physical demands placed on the undocumented Mexican laborer. It explores Teatro de Carpa (tent theater) in-depth as well, bringing to light the experience of Mexican Peladita Amelia Wilhelmy, whose “La Willy” was famous for portraying a cross-dressing male soldier who criticizes the failed Revolution. In numerous other explorations such as these, the political, economic, and social power of creativity continually takes center stage.

During the advent of Chicano teatro, dozens of groups sprang up across the country in Chicano/a communities. Since then, teatristas have been leading voices in the creation and production of plays touching minds and hearts that galvanize audiences to action. Barrio Dreams is the first book to collect the work of one of Arizona's foremost teatristas, playwright Silviana Wood. During her decades-long involvement in theater, Wood forged a reputation as a playwright, actor, director, and activist. Her works form a testimonio of Chicana life, steeped in art, politics, and the borderlands. Wood's plays challenge, question, and incite women to consider their lot in life. She ruptures stereotypes and raises awareness of social issues via humor and with an emphasis on the use of the physical body on stage. The play Una vez, en un barrio de sueños . . . offers a glimpse into familiar terrain—the barrio and its dwellers—in three actos. In Amor de hija, a fraught mother-daughter relationship in contemporary working-class Arizona is dealt an additional blow as the family faces Alzheimer's disease. In the tragedy A Drunkard's Tale of Melted Wings and Memories, and in the trilingual (Spanish, English, and Yaqui) tragicomedy Yo, Casimiro Flores, characters love, live, die, travel through time and space, and visit the afterlife. And in Anhelos por Oaxaca, a grandfather travels back in time through flashbacks, as he and his grandson travel through homelands from Arizona to Oaxaca. Part of Wood's genius is the way she portrays life in what Gloria Anzaldúa called ""el mundo zurdo,"" that space inhabited by the people of color, the poor, the female, and the outsiders. It is a place for the atravesados, the odd, the different, those who do not fit the mainstream. The people who inhabit Wood's plays are common folk—janitors, mothers, grandmothers, and teenagers—hardworking people who, in one way or another, have made their way in life and who embody life in the barrio.

Have you ever wanted a writing and research manual that centered Chicanx and Latinx scholarship? Writing that Matters does just that.While it includes a brief history of the roots of the fields of Chicanx literature and history, Writing that Matters emphasizes practice: how to research and write a Chicanx or Latinx history paper; how to research and write a Chicanx or Latinx literature or cultural studies essay; and how to conduct interviews, frame plÁticas, and conduct oral histories. It also includes a brief chapter on nomenclature and a grammar guide. Each chapter includes questions for discussion, and all examples from across the subfields are from noted Chicanx and Latinx scholars. Women’s and queer scholarship and methods are not addressed in a separate chapter but are instead integral to the work.For years Professors Heidenreich and Urquijo-Ruiz waited for a writing and research manual that was rooted in critical Chicanx and Latinx studies. Now, they have crafted one.

This book provides an analysis of Latinidad in Latin American and U.S. Latinx films by women and/or LGBTQ directors from 1991 to 2016. Challenging traditional notions of gender roles, family, and national identities, it discusses how film directors are broadening the canon and producing provocative work that challenges the boundaries of identity. Utilizing a feminist and queer lens, this book is intended to demonstrate the dynamic interactions between individual agency, choices, and freedom from the communities represented. The book's organization in three parts reflects a common core of the Latin American and U.S. Latinx experiences, unifying all these films in the hope of creating a better understanding of these geographical regions and their people.