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      <title>ARE 5650 Deep Dive by Jesus Quintero</title>
      <link>https://padlet.com/jquintero32/h531vdaof87mhpqj</link>
      <description>SOCIAL RECONSTRUCTIONISM in ART EDUCATION
</description>
      <language>en-us</language>
      <pubDate>2022-05-15 14:16:53 UTC</pubDate>
      <lastBuildDate>2026-02-25 04:34:41 UTC</lastBuildDate>
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         <title>‘Everything Everywhere All at Once’</title>
         <author>jquintero32</author>
         <link>https://padlet.com/jquintero32/h531vdaof87mhpqj/wish/2184504385</link>
         <description><![CDATA[<div>“When I choose to see the good side of things, I’m not being naive. It is strategic and necessary. It’s how I learned to survive through everything.” <strong>— Waymond</strong>, <strong>‘Everything Everywhere All at Once’<br><br>Reflection:</strong></div><div>My main research topic is the INTERSECTIONALITY of every human in this world, specifically the connection between the teacher and the students; this recent movie positively impacted my creative self. The capacity for communion between our different bodies: memories, personal narratives, dreams, emotions, thoughts, and behaviors, for example, is the frame for my study. The subject matter is the body. This movie has created a beautiful narrative of such work and understanding.&nbsp;</div>]]></description>
         <enclosure url="https://www.imdb.com/title/tt6710474/" />
         <pubDate>2022-05-15 14:31:01 UTC</pubDate>
         <guid>https://padlet.com/jquintero32/h531vdaof87mhpqj/wish/2184504385</guid>
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      <item>
         <title>Fernando Pessoa</title>
         <author>jquintero32</author>
         <link>https://padlet.com/jquintero32/h531vdaof87mhpqj/wish/2184511591</link>
         <description><![CDATA[<div>“The feelings that hurt most, the emotions that sting most, are those that are absurd - The longing for impossible things, precisely because they are impossible; nostalgia for what never was; the desire for what could have been; regret over not being someone else; dissatisfaction with the world’s existence. All these half-tones of the soul’s consciousness create in us a painful landscape, an eternal sunset of what we are.”<br>― <strong>Fernando Pessoa<br><br>Reflection<br></strong>I am part of a Colombian, American, and Brazilian family. We moved from language to language and culture by culture. It gives us the sense of being nomads who don't have one home, place, or origin. Such a state of immigration has increased my desire to understand Identity. The search for Identity led me to realize that we are not one; we are many and contain multitudes. I also learned that Death is not the opposite of Life; it is the opposite of Birth; since then, I have experienced many deaths and many births in one amazing Life, such as Pessoa. </div>]]></description>
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         <pubDate>2022-05-15 14:41:14 UTC</pubDate>
         <guid>https://padlet.com/jquintero32/h531vdaof87mhpqj/wish/2184511591</guid>
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      <item>
         <title>Minas de Sal - Salt Mine Cathedral</title>
         <author>jquintero32</author>
         <link>https://padlet.com/jquintero32/h531vdaof87mhpqj/wish/2184521256</link>
         <description><![CDATA[<div><strong><br>The Salt Cathedral of Zipaquirá </strong>(Spanish: Catedral de Sal de Zipaquirá) is an underground Roman Catholic church built within a salt mine 200 meters (660 ft) underground in a halite mountain near the city of Zipaquirá, in Cundinamarca, Colombia. It is a tourist destination and place of pilgrimage in the country. The temple at the bottom has three sections, representing the birth, life, and death of Jesus. The icons, ornaments, and architectural details are hand carved in the halite rock. <br><br><strong>Reflection:<br></strong>While walking in the Cathedral of Salt, the magnificent church seemed to summarize its power in the symbol of the empty tomb. I was walking and debating about the cultural destruction during the colonization of Colombia. When I saw this image, I could not help to relate to it. The empty tomb represented at that moment the absence of past and culture. Who was there? Was it god? Was it a human? Aren't we both divine and mortal?</div>]]></description>
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         <pubDate>2022-05-15 14:54:45 UTC</pubDate>
         <guid>https://padlet.com/jquintero32/h531vdaof87mhpqj/wish/2184521256</guid>
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         <title>La Luna</title>
         <author>jquintero32</author>
         <link>https://padlet.com/jquintero32/h531vdaof87mhpqj/wish/2194517653</link>
         <description><![CDATA[<div>My students and I worked on the relationships between Mothers and Daughters using the language of dance and song. However, I decided to include this video in my investigation because we purposefully broke the technique usually demanded by the Traditional Flamengo.&nbsp;</div><div><br></div><div><strong>Reflection:</strong></div><div>While rehearsing this piece, my student suffered several episodes of anxiety. I am a theatre teacher, but I am not a Flamenco expert. I was not giving her any notes. All of the judgment was in her mind while dancing. She had developed an imaginary master that was not possible to please. This experience reminded me of the masters in my head. I noticed the "Indoctrination" of the masters. I jokingly explained to my student that I saw I wanted to make dead people happy. We looked at each other and laughed; we decided that we would "disrespect" the masters, and she will dance without thinking of making them happy. To our surprise, it was tough to do. Every single time she cannot break her conditioning. We experience lots of moments of fear. In the end, the hard work paid off: For once, during this video, she was able to stay in the present: just her, without any technique or indoctrination, accessible and unique.&nbsp;</div><div><br></div><div>On the other hand, the singer in the video has never sung Flamenco before. So the journey was entirely different for her. She had no conditioning or technique to follow. Instead, she just learned the song and performed it with enthusiasm and care—no struggles in her case.&nbsp;</div>]]></description>
         <enclosure url="https://youtu.be/DI13H7ijy6k" />
         <pubDate>2022-05-22 13:44:33 UTC</pubDate>
         <guid>https://padlet.com/jquintero32/h531vdaof87mhpqj/wish/2194517653</guid>
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      <item>
         <title>Multicultural Art Education</title>
         <author>jquintero32</author>
         <link>https://padlet.com/jquintero32/h531vdaof87mhpqj/wish/2194551174</link>
         <description><![CDATA[<div>"Art forms and artists from diverse sociocultural groups that are incompatible with the loci of Western art forms are rarely discussed. For example, art as a component of the role of physical or mental healer would generally not be discussed." <br><br><strong>Reflection:</strong></div><div>In this article, the author proposed a human academic relationship to counter the segregation in education. While working at a Waldorf School, I learned the value of celebrating the different social, religious, and cultural ceremonies worldwide. Understanding these rituals allowed my students and I to create awareness regarding the different ways we, as a society, honor Life, birth, and death. Honestly, I am still trying to understand if it is possible to create a classroom environment that represents social equality under the current conditions of standardized tests and the politicization of the schools. However, the teacher, again, should be the mentor of such human relationships of acceptance, care, and kindness.&nbsp;</div>]]></description>
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         <pubDate>2022-05-22 14:36:30 UTC</pubDate>
         <guid>https://padlet.com/jquintero32/h531vdaof87mhpqj/wish/2194551174</guid>
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         <title>Radical Imagination</title>
         <author>jquintero32</author>
         <link>https://padlet.com/jquintero32/h531vdaof87mhpqj/wish/2194560450</link>
         <description><![CDATA[<div>“Like artistic and literary movements<br>are driven by imagination… Every<br>important social movement<br>reconfigures the world in the<br>imagination. What was obscured comes<br>forward, lies are revealed, memory<br>shaken, new delineations drawn over<br>the old maps: it is from this new way of<br>seeing the present that hope emerges<br>for the future… Let us begin to imagine<br>the worlds we would like to inhabit, the<br>long lives we will share, and the many<br>futures in our hands.”<br>- Susan Griffin<br><strong><br>Reflection:<br></strong>The author proposes a very passionate and interesting exploration of Radical Imagination as an option for a crossroads of inclusion and education. The visuals of the book are also very interesting. I believe the de-conceptualization of the terms should be exposed with text, images, sounds, and forms. The crossroads of the Intersectionality are the crucial elements of&nbsp;the Interplay. The author provides several examples of these crossing roads. We are in a relation, in juxtapositions, in parallel lines, and in crossroads. The explorations require a fourth-dimensional perspective, so to speak. Something closer to a cultural quantum physics where each particle represents the identities of each individual. </div>]]></description>
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         <pubDate>2022-05-22 14:51:27 UTC</pubDate>
         <guid>https://padlet.com/jquintero32/h531vdaof87mhpqj/wish/2194560450</guid>
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      <item>
         <title>James Madison’s Montpelier</title>
         <author>jquintero32</author>
         <link>https://padlet.com/jquintero32/h531vdaof87mhpqj/wish/2203130046</link>
         <description><![CDATA[<div>Hasan Kwame Jeffries describes his experience while visiting James Madison's Home in Montpelier. He tells the story regarding the realization of how slave children built the bricks on the foundation of the beautiful home. He also provides a new perspective on George Santayana's words "Those who cannot remember the past are condemned to repeat it." All of this to frame the avoidance of telling and addressing the hard histories in our curriculums at school.&nbsp;</div><div><br></div><div><strong>Reflection:</strong></div><div>I decided to use this video as part of my Deep Dive because it was incredibly impactful to me. The reality of the children building the home of Madison was a surprise and showed me how much of the story is hidden to present a limited and biased perspective of History. Nevertheless, I did not realize until today how afraid I am to include the hard History in my class.&nbsp;</div><div><br></div><div>After soul searching for a long time, I believe the origin of the fear started with my process of immigration. I moved to the USA in 2003, and since then, I have defended my decision using aspects such as safety and freedom in my new home. In addition, I created a family, and I adopted the ideals of a democratic society or what I thought was a democratic society.&nbsp;</div><div><br></div><div>One by one, the experiences of immigration showed me that I am part of a racist community. I have worked hard and successfully in several aspects as an American Citizen, but the inferiority complex continues. I am afraid to expose my opposition to dogma; I am afraid of publicly defending the Critical race theory as a teacher; I am afraid my daughters will be segregated because they are Latinas from an immigrant dad.&nbsp;</div><div><br></div><div>I used to judge Latino American parents who do not allow their kids to speak Spanish in the USA. They want their kids to blend in with the "American Culture." Furthermore, I noticed that part of me wants to do the same today. Such complex of inferiority is the same one that praises the character of the oppressor, and it gives them a status of power over me and my History.&nbsp;</div><div><br></div><div>Today, I realized that I need to include my hard History to heal and liberate myself. My hard History is part of me, but it is not everything I am. Therefore, I should not deny it, and I should not wear it as a medal of honor. Intersectionality and Critical Race Theory should be included because it is part of our History. We need to know it, learn it, and discuss it to stop the current continuation.&nbsp;</div><div><br></div>]]></description>
         <enclosure url="https://www.youtube.com/watch?v=A9Lhhsd9EB8" />
         <pubDate>2022-05-28 20:47:08 UTC</pubDate>
         <guid>https://padlet.com/jquintero32/h531vdaof87mhpqj/wish/2203130046</guid>
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         <title>Holy Week of Pain and Blood</title>
         <author>jquintero32</author>
         <link>https://padlet.com/jquintero32/h531vdaof87mhpqj/wish/2203141735</link>
         <description><![CDATA[<div>The Holy Week, a medieval tradition, includes real pain and blood every year in Colombia. Some congregation members will act on real and different forms of torture that resemble the ones described in the Bible regarding the Passion of Christ. Such tradition started in Spain and passed generation by generation to our Colombian culture in colonial times.&nbsp;</div><div><br></div><div><strong>Reflection:</strong></div><div>I was six or seven years old when my parents took me to see "Los Flagelantes" in Santo Tomas, a small town in Colombia. I remember images and sounds. I also remember the smell of the aguardiente, a traditional alcoholic beverage that someone else spits on the wounds to increase the pain of the flagellants. I remembered wondering about the reason for the voluntary torture. My mom explained that they asked God for a favor or a miracle, and they needed to do it to pay him back. I could not understand God's thirst for blood.</div><div><br></div><div>I kept asking questions and getting more confused until one image left me speechless. A child my age was carrying a giant cross. He was in shock. I asked my mom: "Why is that kid carrying that cross?" She explained that when the miracle is enormous, the flagellants will promise God that they will pain with suffering and pain and that their kids and their kids will do the same. A generational promise that two or three generations must keep.&nbsp;</div><div><br></div><div>I was furious.&nbsp;</div><div><br></div><div>Today, I feel this is an excellent example of the power of Oppression: Violence, Powerless, Cultural Imperialism, Exploration, and Marginalization. (González-Scott, C. 2022)</div><div><br></div><div><strong>Reference:</strong></div><div>González-Scott, C. (2022). <em>Tools for social change: The five faces of oppression</em>. Leadership for Educational Equity. Retrieved May 28, 2022, from https://educationalequity.org/blog/tools-social-change-five-faces-oppression</div>]]></description>
         <enclosure url="https://www.elheraldo.co/entretenimiento/flagelantes-una-manda-medieval-que-se-paga-con-sangre-348485" />
         <pubDate>2022-05-28 21:21:48 UTC</pubDate>
         <guid>https://padlet.com/jquintero32/h531vdaof87mhpqj/wish/2203141735</guid>
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      <item>
         <title>Football: Violence and Healing</title>
         <author>jquintero32</author>
         <link>https://padlet.com/jquintero32/h531vdaof87mhpqj/wish/2203153904</link>
         <description><![CDATA[<div>"Three years later, during one of the most gruesome episodes of the Colombian civil war, right-wing paramilitaries infamously terrorized a village on the Pacific coast by playing football with the severed head of Marino López, a peasant who had been accused of aiding the guerrillas. Some say that this practice was fairly common in the early 2000s."<br><br>"In Colombia, most massacres were committed in the football fields of dusty towns like this one, and all the fear and tragedy that this red dirt has witnessed heighten the symbolic value of the event that has just ended. Even 90 minutes of reconciliation can mark a revival in the heart of a battered society that, decade after decade, has repeatedly lost hope. Now footballs, not heads, are rolling again on the pitch. The beautiful game has done it again."<br><br><strong>Reference:<br><br></strong>Iriarte, R. (2022). <em>When football transcends factions</em>. When Football Transcends Factions by Ramón Iriarte (Works That Work magazine). Retrieved May 28, 2022, from https://worksthatwork.com/9/the-reconciliation-match <br><strong><br>Reflection:<br></strong>The fascination with Football (Soccer) in Latino America is profound in our culture. The football fields are filled with players and fans that have connected in something that represents the fears and hopes of millions of people. I remember seeing on the news that the guerrillas and the Colombian army stopped fighting for two hours so both bands could see the game on T.V.&nbsp;<br><br>Also, politicians and governments know they need to show appreciation and success with their national teams if they want to get good approvals. But why?<br><br>I believe this is coming from the identity of the Oppressed. The field is an equalizer where the identified Oppressor and Oppressed could exchange. Worl cup games such as England and Brazil generate a real example. Europeans will go for England, but Africans and Latinos will root for Brazil. If Brazil wins, the identity of the Oppressed will now transmute into the one of the Oppressor and vice-versa. When you give the Oppressed such "Joy," they will gloat for years. It is all a game of power and, unfortunately, in the end, two sides of the same coin.&nbsp;<br><br>In this article, former enemies now play for healing on the same ground that served as a canvas for killings. It does make a good opportunity for a picture in the news, but again, the Hard History was real. Let us see how the narrative changes with the decades.&nbsp;<br><br><br></div>]]></description>
         <enclosure url="https://worksthatwork.com/9/the-reconciliation-match" />
         <pubDate>2022-05-28 21:59:11 UTC</pubDate>
         <guid>https://padlet.com/jquintero32/h531vdaof87mhpqj/wish/2203153904</guid>
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         <title>Love - Death + Robots</title>
         <author>jquintero32</author>
         <link>https://padlet.com/jquintero32/h531vdaof87mhpqj/wish/2211742245</link>
         <description><![CDATA[<div>This collection of animated short stories spans several genres, including science-fiction, fantasy, horror, and comedy. World-class animation creators bring captivating stories to life in the form of a unique and visceral viewing experience. The animated anthology series includes tales that explore alternate histories, energy for robots in a post-apocalyptic city, and a plot for world domination by super-intelligent yogurt. Among the show's executive producers is Oscar-nominated director David Fincher.<br><strong><br>Reflection:<br></strong>Love, Death, + Robots are a postapocalyptic metaphor for the decadence of our civilization. During the three seasons already released on Netflix, the writers create characters that show the deconstruction of society. The lessons are not manichaeistics. We do not worry about right or wrong. They are only decisions, and the decisions create the fate of the characters. The same way how the greeks saw the sense of Tragedy and Comedy. Sometimes the characters are inevitably facing their destruction due to their actions. The ineffable journey of our civilization seems to be articulated in this animated series of robots facing Love, Death, and Destiny.&nbsp;</div>]]></description>
         <enclosure url="https://www.imdb.com/title/tt9561862/" />
         <pubDate>2022-06-06 03:46:11 UTC</pubDate>
         <guid>https://padlet.com/jquintero32/h531vdaof87mhpqj/wish/2211742245</guid>
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      <item>
         <title>Bloom&#39;s Taxonomy</title>
         <author>jquintero32</author>
         <link>https://padlet.com/jquintero32/h531vdaof87mhpqj/wish/2211749040</link>
         <description><![CDATA[<div>The framework elaborated by Bloom and his collaborators consisted of six major categories: Knowledge, Comprehension, Application, Analysis, Synthesis, and Evaluation. The categories after Knowledge were presented as “skills and abilities,” with the understanding that knowledge was the necessary precondition for putting these skills and abilities into practice.<br><br><strong>Reflection:<br><br></strong>Bloom's Taxonomy framework prevails over the other Instructional Design systems because it is the one that seems to be the closest to human development. The revision of the system looks pretty accurate from my point of view.&nbsp;<br><br>The transition of the old vocabulary to the revised one seems to be more accurate:<br><br>Revised Bloom's taxonomy<br>Remember<br>Understand<br>Apply<br>Analyze<br>Evaluate<br>Create<br><br>I like this system because it takes the shape of a vehicle in constant evolution and change. It is very challenging for me to find a framework that simultaneously includes all the performing arts aspects: the individual and ensemble categories. Bloom's Taxonomy seems to provide the opportunity to have all the elements of the social phenomena.&nbsp;</div>]]></description>
         <enclosure url="https://bloomstaxonomy.net/" />
         <pubDate>2022-06-06 03:55:54 UTC</pubDate>
         <guid>https://padlet.com/jquintero32/h531vdaof87mhpqj/wish/2211749040</guid>
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         <title>Journey of the Sparrows</title>
         <author>jquintero32</author>
         <link>https://padlet.com/jquintero32/h531vdaof87mhpqj/wish/2211757228</link>
         <description><![CDATA[<div>Fleeing prosecution in El Salvador, 16-year-old Maria, her older sister Julia, their little brother Oscar, and a young man, Tomas, are nailed into a crate and transported with a load of vegetables from Mexico to Chicago. When they arrive in the city, their struggle to make a new life begins in earnest as they try to earn a living and yet remain "invisible" in order to avoid arrest and deportation. Despite their ordeals, hope and love can still be found, especially in the stories and drawings Maria creates to lift the family's spirits, drawing on their native culture to find meaning in a new and vastly different society. This powerful, uplifting story of triumph over incredible odds was originally commissioned by Lifeline theatre in Chicago. Highly recommended for ages ten to adult.<br><br><strong>Reflection:<br></strong>The Journey of the Sparrows is the next play in my theatre class. Our Theatre Troupe will create personal maps, and they will interview parents, friends, and family members who have experienced the process of immigration. Unfortunately, my students at Doral Academy, mostly with origins in Latino America, ignore many of the cultural aspects their parents had to live when they became immigrants. I also have to navigate that the non-political academic environment significantly protects the school's administration. As a theatre teacher, I believe that all theatre act is a political acts in the sense of society and civilization. However, I am pretty aware that, especially after the 2016 elections, the word political in the USA is attached to government power and political parties.<br>Nevertheless, I cannot escape the priority that I should help create a bridge that closes the cultural gap between the parents and guardians and the students. As a dad, as a Colombian married to a Brazilian, my daughters also experience a multicultural upbringing where you are from everywhere and nowhere at the same time. This status of cultural identity is the core of the work of the play. We are not our traumas or even our past, we are our memories, but we are also much more than that. We are our Now.&nbsp;</div>]]></description>
         <enclosure url="https://www.dramaticpublishing.com/browse/journey-of-the-sparrows" />
         <pubDate>2022-06-06 04:08:35 UTC</pubDate>
         <guid>https://padlet.com/jquintero32/h531vdaof87mhpqj/wish/2211757228</guid>
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         <title>Hispanic, Chicano, Chicano, or Latinx</title>
         <author>jquintero32</author>
         <link>https://padlet.com/jquintero32/h531vdaof87mhpqj/wish/2218309147</link>
         <description><![CDATA[<div>"The terms Latino, Hispanic, and Latinx are often used interchangeably to describe a group that makes up about 19 percent of the U.S. population. While it’s now common to use umbrella terms to categorize those with ties to more than 20 Latin American countries, these words haven’t always fostered a sense of community among the people they’re supposed to describe." (Simón, 2020)<br><br><strong>Reference:&nbsp;<br></strong>Simón, Y. (2020, September 14). <em>Latino, Hispanic, Latinx, Chicano: The history behind the terms</em>. History.com. Retrieved June 11, 2022, from https://www.history.com/news/hispanic-latino-latinx-chicano-background&nbsp;<br><br><strong>Reflection:<br></strong>One of the most powerful experiences as an immigrant was experiencing the change in my identity. Almost the instant I arrived in the USA, I was automatically, and without my knowledge, associated with the prejudice of becoming from Colombia. I noticed that when in New York, that identity will be mainly Puerto Rican or Dominican; in Los Angeles and Chicago, I will be associated as a Mexican. And in Miami, I am related to the Cuban Culture. Of course, Colombians and Venezuelans are a big part of the Latino culture, but we are not historically that strong compared to Mexico and Cuba.&nbsp;<br><br>Colombia and Venezuela share a long and complicated border in SouthAmerica. I remember the solid anti-Venezuelan culture in the 80s and 90s in Colombia, including the traffic of drugs in Colombia and the rise of Venezuela's dictatorship. Today, I see our communities getting together in the significant title of "Hispanics or Latinos." We are now in a new group that is trying to exist and survive in White America without disappearing or diluting the Cuban and Mexican American traditions.&nbsp;<br><br>Social constructivism should not exist in generalizations such as Latinos or Hispanics without finding the spaces in-Between all the cultures. Therefore, I tend to accept the term Latinx but more as a LatinX. The initial "x" is a Neutral Gender term, but an "X" in capital letters is a fluid concept of gender, political, and cultural identification.&nbsp;</div>]]></description>
         <enclosure url="https://www.history.com/news/hispanic-latino-latinx-chicano-background" />
         <pubDate>2022-06-11 21:32:28 UTC</pubDate>
         <guid>https://padlet.com/jquintero32/h531vdaof87mhpqj/wish/2218309147</guid>
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         <title>Zoot Suit Riots</title>
         <author>jquintero32</author>
         <link>https://padlet.com/jquintero32/h531vdaof87mhpqj/wish/2218313844</link>
         <description><![CDATA[<div>"Zoot Suit Riots, a series of conflicts that occurred in June 1943 in Los Angeles between U.S. servicemen and Mexican American youths, the latter of whom wore outfits called zoot suits. The zoot suit consisted of a broad-shouldered drape jacket, balloon-leg trousers, and, sometimes, a flamboyant hat. Mexican and Mexican American youths who wore these outfits were called zoot-suiters. These individuals referred to themselves as pachucos, a name linked to the Mexican American generation's rebellion against Mexican and American cultures."<br><strong><br>Reference:</strong></div><div>Coroian, G. (2022, May 27). <em>Zoot suit riots</em>. Encyclopædia Britannica. Retrieved June 11, 2022, from https://www.britannica.com/event/Zoot-Suit-Riots&nbsp;<br><br><strong>Reflection:</strong></div><div>I must admit that as much as I would like to see my Latin American community together, we are all divided. Such division seems to result from our inferiority complex after being treated as servants for so long. Capitalism has created corruption, and our politicians know how to use that in their favor very well. We have enough to survive barely, and our inferiority complex instead consumes our individualities with the hope that our kids get good grades, go to college, and escape poverty.&nbsp;</div><div><br></div><div>In the process of learning in this class, I have experienced an "eye-opening" experience where I am becoming aware of the critical role of art in education.&nbsp;</div><div><br></div><div>I emotionally reacted when I learned, a few days ago, about the Zoot riots where Latin American People were persecuted and killed initially for wearing a suit or because of their non-White status. Unfortunately, it is the reality of oppression, racism, xenophobia, and segregation. Yet, I wish our Latin American communities would work alongside the black community in search of Social Justice. Unfortunately, this is not my experience. We are so worried about surviving to be able to send money to our countries and buy the new truck or TV that we are willing to pretend to be blind. However, what is the other option? Poverty. And that word is terrifying to all of us.&nbsp;</div><div><br></div>]]></description>
         <enclosure url="https://www.britannica.com/event/Zoot-Suit-Riots" />
         <pubDate>2022-06-11 21:52:50 UTC</pubDate>
         <guid>https://padlet.com/jquintero32/h531vdaof87mhpqj/wish/2218313844</guid>
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         <title>Seamstresses in Auschwitz</title>
         <author>jquintero32</author>
         <link>https://padlet.com/jquintero32/h531vdaof87mhpqj/wish/2218317942</link>
         <description><![CDATA[<div>"The Auschwitz workshop is a feminine and feminist story, of friendship and loyalty. The story recounts the crossed paths of the talented Marta Fuchs; the indomitable Hunya Storch; Irene Reichenberg, who lost her sisters one by one; the French women Marilou Colombain and Alida Delasalle; the young sisters Katka and Bracha Berkovic. They have all passed away, but Adlington met the latter before she died in 2021. She visited her in 2019 at her home in San Francisco, California to chat with her. "It was surreal," she confesses. "I was there, in the kitchen of this woman who had made me chicken for dinner and an incredible apple pie, and who had spent 1,000 days in Auschwitz," Adlington says of talking to one of the people she had been researching for years." (Porcel, 2022)<br><strong><br>Reference:<br></strong>Porcel, M. (2022, June 11). <em>A true story: The seamstresses in Auschwitz who sewed for the wives of Nazi leaders</em>. EL PAÍS English Edition. Retrieved June 11, 2022, from https://english.elpais.com/culture/2022-06-11/a-true-story-the-seamstresses-in-auschwitz-who-sewed-for-the-wives-of-nazi-leaders.html <br><strong><br>Reflection:<br>"</strong>The book exudes Feminism. On the one hand, Adlington wants to break taboos when it comes to telling stories about that half of humanity. "Everything in History revolves around men: books, statues, memories. We have to look at different sources, archaeology, newspapers. We must decode the lives of previously silenced women. In the past there has been a lot of focus on men's work, but how did women impact it? It is very powerful. It doesn't exclude men, but with women's perspectives, we discover a lot. No one knew about this fashion house, and it tells us a lot," she argues. Are there many stories left to tell? "Absolutely. We are breaking taboos around certain experiences, sexual violence, the role of pregnancy, motherhood. Every person has a story." (Porcel, 2022)<br><br>Two aspects make this material highly significant to me:<br><br>1. The fact that slavery happened and still happens in the world. I read many examples I could extrapolate to the Black and Latin-X experience. But also, it is not a war against the White culture, but against a damaging culture that has defined the abuser as White and the abused as Non-White, but that in reality, it goes in all the aspects of the humanity: Men vs. Women, Rich vs. Poor, Pretty vs. Ugly, and so on.&nbsp;<br><br>2. The absolute necessity to bring Feminism to our classrooms. It is not about reframing History; it is about coherence in History.&nbsp;<br><br>A thought crossed my mind when I was reading: We should practice "Radical Imagination," but we should also understand our reality: Many friends after the election of Trump in 2016 were surprised how America was now racist, but in fact, it was always like that and many forces want to keep it that way. </div>]]></description>
         <enclosure url="https://english.elpais.com/culture/2022-06-11/a-true-story-the-seamstresses-in-auschwitz-who-sewed-for-the-wives-of-nazi-leaders.html" />
         <pubDate>2022-06-11 22:10:44 UTC</pubDate>
         <guid>https://padlet.com/jquintero32/h531vdaof87mhpqj/wish/2218317942</guid>
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