Serigrafía

Abstract

carlos francisco jackson SerigrafíaConstructing the Chicana/o imaginary I n 1996, the Chicano printmaker Malaquias Montoya spoke to a group of students at Casa Cuauhtémoc, a theme dorm on the University of California, Davis, campus, where I was a first-year student and resident. Malaquias showed us a photograph of a mural that he had painted in Tijuana for the Festival de la Raza ten years earlier. It had taken only a few days to paint the mural, he said, but much longer than that to learn about the environment, meet with residents in the nearby community, and talk with community leaders, activists, educators, and cultural workers before a drop of paint was put on the wall.Malaquias was a towering figure to Chicana/o students on campus. Later, in a class that I took with him, Malaquias became impassioned when he showed us drawings and prints by Ester Hernandez and Yolanda Lopez. It was powerfully moving to see him humbled by their works. I now understand that this emotion was an expression of respect for artists who dedicate themselves to producing art within the framework of a movement.

“We Are Not a Token!”: Cultural Citizenship and Transformational Resistance in Higher Education

“…Re-creating a poster by Malaquías Montoya, professor emeritus of Chicana/o Studies and Art at UC Davis, RESISTENCIA challenged the Chicanx/Latinx community to re-imagine itself through the “Chicano power!” imagery. As defined by Carlos Francisco Jackson (2014) in “Serigrafia: A Reflection,” 17 being a “Chicana or Chicano [is] to be a person committed to community engagement, social justice, antiracism, and equality” (para 5). Thus, RESISTENCIA uses the different posters as “tool[s] for social purposes and an ever-changing and developing space for the expression of consciousness” (Jackson, 2014).…”

“…As defined by Carlos Francisco Jackson (2014) in “Serigrafia: A Reflection,” 17 being a “Chicana or Chicano [is] to be a person committed to community engagement, social justice, antiracism, and equality” (para 5). Thus, RESISTENCIA uses the different posters as “tool[s] for social purposes and an ever-changing and developing space for the expression of consciousness” (Jackson, 2014). See Images 1 and 2 below.…”