Diversity Reading List

Abstract: This article analyses the causes of the disparity in collective rights gained by indigenous and Afro-Latin groups in recent rounds of multicultural citizenship reform in Latin America. Instead of attributing the greater success of indians in winning collective rights to differences in population size, higher levels of indigenous group identity or higher levels of organisation of the indigenous movement, it is argued that the main cause of the disparity is the fact that collective rights are adjudicated on the basis of possessing a distinct group identity defined in cultural or ethnic terms. Indians are generally better positioned than most Afro-Latinos to claim ethnic group identities separate from the national culture and have therefore been more successful in winning collective rights. It is suggested that one of the potentially negative consequences of basing group rights on the assertion of cultural difference is that it might lead indigenous groups and Afro-Latinos to privilege issues of cultural recognition over questions of racial discrimination as bases for political mobilisation in the era of multicultural politics.

Publisher’s Note: In this essay, Mariátegui offers an analysis of Peruvian literary practices and a criticism of some of its central figures. He argues that what has been construed as a “national literature” erases the contributions of Indigenous cultures to Peruvian identity, and, in doing so, it partly contributes to the marginalization of Indigenous Peruvians.

Publisher’s Note: This book examines the work of Chicana artists, feminist Mexican-Americans who aim at interrogating their identity through art. In this chapter, Pérez examines what she regards as “the general intellectual vindication of Indigenous epistemologies that characterized much of the thought and art of the Chicana/o movement”. She argues that, in opposition to the male Chicano perspective that characterized the early movement, Chicana artists embrace their Indigenousness in a way that aims not simply at antagonizing Eurocentric culture, but that aims at “a genuinely more decolonizing struggle at the epistemological level”. The chapter focuses on writers Gloria Anzaldúa, Cherríe Moraga, Ana Castillo, and Sandra Cisneros, and on artists Frances Salomé España, Yreina Cervántez, and Esther Hernández.

Abstract: This paper examines the relationship between the aesthetic frameworks of José Vasconcelos and Gloria Anzaldúa. Contemporary readers of Anzaldúa have described her work as developing an “aesthetics of the shadow,” wherein the Aztec conception of Nepantilism—i.e. to be “torn between ways”—provides a potential avenue to transform traditional associations between darkness and evil, and lightness and good. On this reading, Anzaldúa offers a revaluation of darkness and shadows to build strategies for resistance and coalitional politics for communities of color in the U.S. To those familiar with the work of Vasconcelos, Anzaldúa’s aesthetics appears to contrast sharply with his conceptions of aesthetic monism and mestizaje. I propose, however, that if we read both authors as supplementing one another’s work, we can see that their theoretical points of contrast and similarity help frame contemporary philosophical discussions of racial perception.

Abstract: The globalization of the world is, in the first place, the culmination of a process that began with the constitution of America and world capitalism as a Euro-centered colonial/modern world power. One of the foundations of that pattern of power was the social classification of the world population upon the base of the idea of race, a mental construct that expresses colonial experience and that pervades the most important dimensions of world power, including its specific rationality: Eurocentrism. This article discusses some implications of that coloniality of power in Latin American history.

Publisher’s Note: Tarica examines Rosario Castellanos’ Indigenism in her literary work, particularly in her fictional autobiography Balún Canán (The Nine Guardians). Tarica argues that the novel is an examination of the interaction of Castellanos’ mestiza and female identities, and that it concludes with the constitution of an “utterly lonely figure”. Nevertheless, Tarica argues that the inclusion of other protagonists, such as the protagonist’s Mayan nanny, allow for Castellanos to examine the coloniality of power and the appropriation of indigenous identities. According to Tarica, this allows Castellanos to present the protagonist not as a heroine, but as an antiheroine that offers an “absolutely partial version of national events”, and who manages to affirm herself only in “a place of solitary wandering: Uranga’s Nepantla as in-betweenness.