2013
DOI: 10.1057/9781137077714
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Sacred Iconographies in Chicana Cultural Productions

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Cited by 31 publications
(2 citation statements)
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“…Centering and reflecting on one’s experience in a supportive environment may lead to transformation not only in situating student’s cognitive process (Carawan et al., 2011) but through situating the emotional work as well. Drawing upon “[…] history, memory, and emotion as significant cognitive elements” is consistent with Chicana feminist practice for liberation (Román-Odio, 2013: 5) and, we argue, is a critical component of unlearning internalized oppressions and naming interlocking systems of dominance that want to divide and put into opposition subjugated groups in order to maintain such dominance. We support speaking truth to power through naming embodied and emotional experiences, connecting them to personal experiences related to oppression and to the experiences of others, and using them as transformative, creative tools.…”
Section: Discussionsupporting
confidence: 62%
“…Centering and reflecting on one’s experience in a supportive environment may lead to transformation not only in situating student’s cognitive process (Carawan et al., 2011) but through situating the emotional work as well. Drawing upon “[…] history, memory, and emotion as significant cognitive elements” is consistent with Chicana feminist practice for liberation (Román-Odio, 2013: 5) and, we argue, is a critical component of unlearning internalized oppressions and naming interlocking systems of dominance that want to divide and put into opposition subjugated groups in order to maintain such dominance. We support speaking truth to power through naming embodied and emotional experiences, connecting them to personal experiences related to oppression and to the experiences of others, and using them as transformative, creative tools.…”
Section: Discussionsupporting
confidence: 62%
“…To illustrate, many Latina feminists syncretize Tonantzin (Aztec goddess, Our Mother) into the Virgin of Guadalupe (a Black Madonna), transforming her into a feminist icon of indomitable strength and power (Estés, 2011), a protector of the oppressed, and a sacred freedom fighter (Castillo, 1996). What's more, a syncretistic Tonantzin/Guadalupe is the subject of many Latina feminist artistic expressions (Román-Odio, 2013).…”
mentioning
confidence: 99%