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Erschienen in: The Urban Review 1/2013

01.03.2013

Teaching as a Healing Craft: Decolonizing the Classroom and Creating Spaces of Hopeful Resistance through Chicano-Indigenous Pedagogical Praxis

verfasst von: Silvia Toscano Villanueva

Erschienen in: The Urban Review | Ausgabe 1/2013

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Abstract

This paper builds upon the edict for self-determination in El Plan de Santa Bárbara: a Chicano plan for higher education (1969), which calls for “strategic use of education,” by placing value on needs of the community (La Causa, p. 9). For me, this passage translates into valuing needs of community-college students entering my classes and life. I believe it is my obligation, as an educator, to problematize ways in which knowledge has been defined, framed, presented, and researched by dominant ideologies informing institutions of learning at all levels. In essence, this work is a meditation allowing readers to witness how I am weaving together various strands of myself including the personal, emotional, professional, intellectual, and spiritual. It captures how my participant-observation of MAS-Tucson educators, while describing their use of barrio pedagogy and critically compassionate intellectualism, has been enhanced by my re-reading of Elena Avila’s (2000) Woman who Glows in the Dark: A Curandera Reveals Traditional Aztec Secrets of Physical and Spiritual Health. This paper represents an ongoing epistemological exercise about my own teaching and scholarship, resulting in an emergence of my own modality as an apprenticing practitioner of Chicano-Indigenous pedagogy.

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Fußnoten
1
For a detailed explanation of connections among the Mayan concept of In Lak’Ech, Maya scholar Domingo Martinez Paredez, Luis Valdez, and University of Texas professor Dr. Arnoldo Vento, please see Dr. Cintli Rodríguez’ (2012b) article “Tucson’s Maiz-based Curriculum: MAS-TUSD Profundo”.
 
2
At a grassroots level, Peace and Dignity Journeys (PDJ) lend further insight into the hemispheric understanding of Indigeneity. PDJ emerged in 1990 from the first Continental Encounter of Indigenous Pueblos and Nations in Quito, Ecuador. At this time, a mandate was made for the unification of all Indigenous Peoples from throughout the continent (Tonatierra). At the academic level, it should be noted that Jack D. Forbes, who played a pivotal role in developing Native American Studies at UC, Davis as well as in opening the first Tribal College in California (D-Q University, is noted as the first American Indian scholar to recognize Chicanos as Native peoples in his 1973 book Aztecas del Norte (Gonzales, p. 239 n5).
 
3
I embrace Patrisia Gonzales’ (2012) definition of Indigenous, which “emanates from the concept of being so linked to a place that one’s being, identity, and origin come from the entrails of the earth”(p. 135). I also align with Jennie Luna’s (2012) use of the term to identify the “original peoples of the western hemisphere and other land bases, interchangeably with Native Peoples, First Nations, Fourth World Peoples, or People of this Land” (p. 2 n4).
 
4
For a more elaborate explanation of the meaning of The Four Tezcatlipocas by Norma González in collaboration with Tupac Enrique Acosta of Tonatierra in Phoenix, Arizona—co-creators of this aspect of MAS-TUSD curriculum, please see Dr. Cintli Rodríguez’ (2012b) article “Tucson’s Maiz-based Curriculum: MAS-TUSD Profundo.”.
 
5
A successful example illustrating how Indigenous knowledge systems have been implemented is La Academia Semillas del Pueblo, a community-based charter school in El Sereno, California founded in 2001 by Semillas Sociedad Civil. Another recent example is the engagement of Xicana Indígena epistemologies in order to create new K-12 models of education proposed by Jennie Luna. Xicana is defined as an anti-sexist consciousness, political belief and strategy, an ideology and way of life that is mujer-centered while honoring, accepting, and respecting all people who identify with being Indigenous to this continent and Mother Earth (Luna 2012, p. 4). This definition of Xicana informs Luna’s positionality as an educator who believes that, “Danza [Mexica] can be a model within Xicana/o educational reform movements, helping to instill a sense of history and pride within students [since it] creates a living, on-going connection to history, demonstrating to students that ‘we exist’”(2012, p. 10).
 
6
Thankfully, recent scholarship gives serious attention to both Andrés Segura and Florencio Yescas and the very important contributions they made to Chicano/a (Xicana/o) history, culture, identity, and spirituality. See Mario Aguilar’s (2009) dissertation, The Rituals of Kindness: The Influence of the Danza Azteca Tradition of Central Mexico on Chicano-Mexcoehuani Identity and Sacred Space, Raquel Hernandez Guerrero’s (2010) thesis, Dancing in the Street: Danza Azteca as Cultural Revitalization and Spiritual Liberation for Chicanos, Veronica Valadez’ (2012) thesis, Dancing Amoxtli: Danza Azteca and Indigenous Body Art as Forms of Resistance, and Jennie Luna’s (2012) dissertation, Danza Mexica: Indigenous Identity, Spirituality, Activism, and Performance.
 
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Metadaten
Titel
Teaching as a Healing Craft: Decolonizing the Classroom and Creating Spaces of Hopeful Resistance through Chicano-Indigenous Pedagogical Praxis
verfasst von
Silvia Toscano Villanueva
Publikationsdatum
01.03.2013
Verlag
Springer Netherlands
Erschienen in
The Urban Review / Ausgabe 1/2013
Print ISSN: 0042-0972
Elektronische ISSN: 1573-1960
DOI
https://doi.org/10.1007/s11256-012-0222-5

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