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祝日 / Permanent Vacation
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we're not kids anymore.
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@thebookbyitscover
Three generations of Cuban women, three different opinions of Castro.
The leader's death highlights a divide between Cubans young and old:
Should the young girl leave? How should the young girl view the revolution as opposed to her mother and Abuela (grandmother)? What are your thoughts on Cuba after Fidel Castro’s death?
Jamas temas al futuro y nunca vuelvas al pasado
Basek (via zona-hiphop)
except most of latin culture doesn't come from africa,afro latinxs have had a huge influence in /some/ parts of latin america, but even then you can't claim that the natives and spaniards dont still make up a huge portion of latin culture, in central america there's little to no black infleunce b/c african slaves weren't rly taken there, so what are you talking about tryin to claim that culture was like nonexistent before you nah, afrlatinxs incorporated some parts into a pre-existing cultures
I wasn’t really agreeing with the anon. And there was actually a big influence in Central America, in Honduras, Costa Rica and Panama. -Sierra
The Afro Latino Culture influences the music we listen to such as Salsa and Merengue to the food we eat like arroz con coco to the dialect used in many countries. The influence is not only seen in Central America but also South America including but not limited to countries already mentioned like Colombia and Guatemala. Often times there are not so well known pueblos concentrated with afro latinos that many would not know exist like in Peru. The Latino is a blend of culture and race that cannot be identified by one single influence.
The Pollera and Somberero Pintado: Symbols of Panamanian Culture
La Pollera
Refers to the traditional costume of Panama worn by women consisting of a skirt and a blouse. Its origins are that of Spanish clothing worn by peasant women in the seventeenth century. The most iconic pollera is that of the pollera de gala; its development began when upper-class Spanish women started settling in the Americas. Since their lavish clothing was unsuitable for the tropical climate, they would appropriate the dress of their [Spanish] servants. However to make them appear more luxurious they would decorate the garments with lavish embroidery and lace. This type of pollera was eventually adopted to the white criollo and mestizo population; and to this day is seen as a national symbol of Panama. Traditionally a woman owns two polleras in her life; one during childhood and the other when she becomes an adult. Typically polleras de gala are handmade of white linen and embroidered with colorful patterns such as flowers and fruit. However, there are many different variations of polleras outside of the pollera de gala, and differences base on region. Another common type of the pollera is that of the pollera congo, with its origins among the Afro-Colonial population of Colón. The most common style of the pollera congo is a colorful patchwork one made by the use old fabrics, and it reflects the polleras worn by African women during the days of slavery. A woman who wears a pollera is referred to as an empollerada.
Polleras are usually accompanied by jewelry and accessories. The most common ones are the peinetas and tembleques. Peinetas are golden tortoise-shaped combs that surround the head like a halo, while tembleques are ornaments made of wire, pearls, or crystals; attached to the peinetas. These two accessories are often passed down by families as heirlooms.
El Sombrero Pintado
Is a traditional Panamanian hat most commonly worn by men, but occasionally by women as well. Recognized by its distinctive pattern of white and black rings, its origins are in the province of Coclé, however these days its seen as a national icon similar to pollera de gala. It is handwoven using the fibers of plants bleached in the sun; the rings that are black are made by using an Indigenous method of boiling fibers with chisná bush leafs, which cause a natural black dye. The cost of a hat is based on the number of rings, and hats with more than twenty rings can take up to a month to make.
Mini Super En Centro America Comida Saludable Y Barata
Tiene piel morena labios que envenenan cintura pequeña larga cabellera saliente en la mañana, me llenaba el alma somos un cuerpo en una misma cama compartiendo el mismo espacio, la misma almohada respirando el mismo aire, una sola mirada amando toda la noche 'toa la madrugada y hacerte mil cariseas, quiero que el sudor se te seque con la brisa que me des el pasaporte y la visa para explorarte pa' que seas mi primicia mi ultima noticia black woman
I-Nesta
Tener tus ojos debe ser ilegal y mas si cuando miras solo inspiras a pecar esa sonrisa peculiar de jugar a tentar letal es un dote que si sabes como usar para matar
Cultura Profetica: Ilegal
Que es lo que pasa? Quitame esa cara de tristeza Dame una sonrisa Que la vida se nos pasa Aa! Yo quiero compartir la plenitud Yo quiero compartir la plenitud Tu eres mi casa y cuando te abraso el tiempo pasa De distintas formas para el cielo una alabanza Aa! Que bendición que eres tu Que bendición que eres tu
I-Nesta: Que es lo que pasa
Palmas Bellas
For BBC Mundo's newly settled correspondent in Bogota, Colombia, the rigid socioeconomic classification the government applies to housing in the city has come as an unwelcome surprise.”The housing classification system has a powerful effect on the way Colombians self identify, so much so that when people seek out relationships, their social stratum is indicated (in personal ads) alongside gender, physique and age.”
In Peru, another multicultural and multi-ethnic country with a long history of racism and discrimination, the situation is similar; but it carries the added sting of being accepted and propagated by the mainstream media.
Other countries such as Mexico and Argentina are discussed.
In Latin America, Discrimination Pits Neighbour Against Neighbour
¿Y tu agüela, aonde ejtá?: Fortunato Vizcarrondo
Ayer me dijiste: negra y hoy te voy a contetá... mi madre se sienta en la sala, y tu abuela ¿aonde etá...? ayer me dijiste: negra, y hoy te voy a contetá... Y tu abuela ¿aonde etá...? Yo tengo el pelo e caíllo el tuyo es seda na má, tu pai lo tiene bien lasio y tu abuela ¿aonde etá...? Tu color te salió blanco; y las mejillas rosá, los labios los tienes finos Y tu abuela ¿aonde etá...? A ti te gusta el fo trote y a mi bruca maniguá si es tu orgullo de blanco Y tu abuela ¿aonde etá...? eres blanquito enchapao que dentra en sociedad temiendo que se conozca la mamá de tu mamá. La probe se está muriendo al verse tan maltratá que hasta tu perro le ladra cuando ella etá lavá. Muy bien que yo la conozco se ñama Siña Tatá tú la econde en la cocina porque es prieta de verdad. Aquí el que no tiene dinga tiene mandinga , ja, ja. Y por eso yo te digo: Y tu abuela... ¿aonde etá...?
For Brooklyn-born teens Marisol and Magdalena, being Latina isn't something they think about much. Although both their families are from Panama and they live in a Latino neighborhood, neither one of them speaks much Spanish. What's important to them is their inviolable friendship and their plans for a fabulous summer and a triumphant final year of junior high school in the fall. Then Marisol's mother decides to send Marisol to Panama to spend a year with her grandmother while she finishes nursing school full-time. Suddenly, both girls have to think about Panama as they never have before. Marisol feels apprehensive; Magdalena, abandoned. As Magdalena begins to pull away from her, Marisol takes consolation in the thought that in Panama she might finally get to know her absentee father.
For Marisol, living in Panama turns out to be an unexpectedly happy experience. Her shyness fades as she gets to know her grandmother, makes friends with her neighbor, Ana, fits in at her new school, and even finds her first boyfriend, Ruben, who tutors her in Spanish. And as she comes to terms with the fact that her father may never surface in her life, she learns to value the family and friends she has — and to find sufficient meaning in loving people who want to love her back.
A Must Read Book
Women Warriors of the Afro-Latina Diaspora reflects the voices of Afro-Latinas who are actively committed to visions of equity and justice in all aspects of their lives and of their communities. The writers are Afro-Latina activists who are committed to transforming the historical legacy of racism and discrimination that continues to hold Afro-Latinas and their communities at the periphery of their nations development. The contributors of span a range of professions from grass-root community scholars to academicians, elected officials and international policymakers. They are women who have faced the barriers of race, education, class and gender to create spaces of liberation from which to battle their governments, international agencies, and sometimes the fears of their own communities. Grounded among their people,. They use their position to advocate for justice, racial equality, cultural equity and human and civil rights.
The life stories of the women featured in this anthology are known within their countries and influence national and international policies. Yet their lives and their work remain virtually unknown outside their linguistics cultural context. This anthology seeks to provide the general public with access to the life storied of remarkable Afro-Latinas. The life stories of these writers offer insight into the lives of more than 150 million African descendants who reside in Spanish-speaking countries in the Caribbean, the United States and Latin America.
The story of these women’s lives will resonate with readers who question their color, their purpose in life and their future. Each story is unique, yet each contains points of similarity with the others in that they all wrestle with the issues of human rights, social justice, race, gender and visibility, respect, intellectual property and power. The essayists and poets are women who have faced the barriers of race, education, class and gender to create spaces of liberation from which to battle their governments, international agencies, and sometimes the fears of their communities. Their stories invite us to confront our barriers.
Recognizing and celebrating the place of Afro-Latinas in contemporary global society also means accepting the social, economic and political dislocation of these communities, and honoring the freedom fighters, change makers and everyday people who will fuel the Afro-Latina/o struggle for holistic development. Contesting illusory notions of a multi-racial utopia in which European, indigenous and African descendants live harmoniously without addressing the effects of colonialism, imperialism and enslavement, Afro-latinidad not only demands recognition for the historical presence and contributions of African descendants since the end of the transatlantic slave trade, but also heralds a shift with regard to how Latin American identity is constructed today.
From North America to the Southern Cone, the concept of Afro-latinidad in the Americas continues to stir deep emotional responses while inspiring local, national and international movements for racial justice and equality. Challenging both Eurocentric constructions of Latin American identity and narrow U.S. centered constructions of “black” identity in the Diaspora, AfroLatina/s are demanding their place in history as purveyors of resistance and as the progeny of a deep rooted legacy. Afro-Latinas are indisputably at the heart and the helm of this struggle.
What does it mean to be Latino with African Descent in the U.S.?
Featuring interviews with Latino Actors
Laz Alonso ("Avatar", "Jumping the Broom")
Tatyana Ali ("Fresh Prince of Bel Air")
Gina Torres ("Suits, Hercules: The Legendary Journeys")
Judy Reyes ("Scrubs")
Featuring interviews with Latino Musicians
Christina Milian ("Dip it Low")
Kat DeLuna ("Whine Up")
Featuring Journalist
Soledad O'Brien (CNN)
Featuring Director
Jessy Terrero
Red de Mujeres Afro-latinoamericanas, Afrocaribeñas y de la Diáspora, Encuentro Diaspora Afro, Where and When I Enter, the Caribbean Cultural Center & African Diaspora Institute and the Afrolatin@ Projectinvite you to attend a panel discussion
MONDAY SEPTEMBER 22, 2014 6-8:30 PM
"THE STATE OF BLACK WOMEN IN LATIN AMERICA"
Altagracia Balcácer Molina (Dominican Republic) Paola Yañez Inofuentes (Bolivia) Nedelka Lacayo (Honduras) Yvette Modestin, Moderator (Panama)
Opening Remarks: Dr. Marta Moreno Vega, Caribbean Cultural Center & African Diaspora Institute
FREE
WILLIAMSBURG MUSIC CENTER 367 BEDFORD AVE. @ SOUTH 6th WILLIAMSBURG, BROOKLYN
J-M-Z Train to Marcy Ave.
Reception: Live Performance by Mai-elka Prado of the Del Sonido Collective; Poetry reading by Monica Carrillo to follow.
Come hear activists from the Network of Afro-latinamerican, Afro-Caribbean and Diaspora women as they share their experiences and discuss their work to raise the visibility and improve the lives of women in their communities. It has been well documented that when women are empowered, communities prosper. They will also provide an interim report on their progress as collaborators in the MY World / World We Want 2015 campaign. With the launch of the International Decade of People of African Descent and the Sustainable Development Goals both in 2015 this will be a timely discussion.
This needs to be packed.
