6:42 p.m.
Dear colleagues:
Marco Cervantes and I would like to share a call for proposals for our upcoming book
project. The tentative title is: Decolonizing Music through Critical Readings in
Chicana/x/o and Latina/x/o Music.
Please consider submitting a proposal. We'd very much appreciate you sharing our CFP
with your contacts.
Gracias!
The life-giving power of music has sustained the survival and resistance of Chicana/x/o
and Latina/x/o communities over five centuries of coloniality. Within the spirit of the
creative-resistance (Rodriguez 2014), this book examines music as a site of anti-colonial
resistance and decolonial praxis in schools and communities in Cemanahuac and
beyond.[1]<https://outlook.office.com/owa/?realm=utsa.edu#_ftn1> Premised on the
emancipatory notion that schools--part and parcel of the “colonial matrix of power”
(Quijano 2000)--can engender a decolonial imaginary and praxis (Perez, 1999), this book
seeks contributions that problematize social injustices, provoke consciousness, and
dismantle colonial approaches to teaching and learning through the critical study,
performance, and creation of musical expressions. Moreover, we seek works that examine
music as a site of healing, remembering, revitalizing, restoring, celebrating, returning,
connecting, and envisioning possibilities for humanization in schools and community-based
teaching/learning spaces (Smith, 2012).
As scholars committed to decolonization as a political, epistemic, spiritual, and cultural
project across the Americas, we are intent on creating an anthology that values
transcultural understanding and solidarity between and across subaltern peoples of the
Global North and the Global South, with particular attention to Chicanas/xs/os,
Afro-Latinas/xs/os, Central American, and Indigenous people in the Americas. Musical forms
provide ways to critically explore epistemic erasures, disrupt colonial narratives, and
create spaces for transformative consciousness among children and youth, particularly
around issues of economic globalization, (im)migrant rights, cultural resistance, racism,
poverty, and educational inequality. As interdisciplinary scholars and editors to this
book, we seek chapters from emerging and established scholars in the field of music,
sociology, anthropology, ethnic studies, education, history, and decolonial studies, as
well as chapters from artists, educators, and community activists who actively engage
music as a decolonial pedagogy in Chicana/x/o and Latina/x/o schools and community-based
education spaces.
Some guiding questions to consider include [but are not limited to]:
● How do educators, cultural workers and musician artevistas inspire personal and
social change through intentional classroom pedagogies that resist, interrogate, and
dismantle coloniality through the lyrical, sonic, and performative aspects of music?
● In what ways can educators generate transcultural understanding and solidarity
between and across subaltern peoples of the Global North and the Global South? How can
these transcultural solidarities decolonize borders and colonial notions of nation,
citizenship, and belonging?
● In what ways do decolonial music pedagogies facilitate transformative consciousness
among Chicana/x/o and/or other Latina/x/o students?
● As an educator and/or musician, how do you create, study, or perform music to
engage in critical discussions about economic globalization/coloniality, immigration,
cultural resistance, racism, poverty, and/or educational oppression in the Americas?
● How can music be used to engage in discussions on anti-Blackness and
anti-Indigeneity within the context of the colonial curriculum?
● How does music provide opportunities to decolonize readings of sexuality and gender
in Chicana/x/o and Latina/x/o education settings?
PROPOSAL REQUIREMENTS:
1. Identify the educational space you will focus on in your submission (K-12, College
and
University, or Community).
2. Your proposal must be 250 words maximum (include reference on another page).
3. Include a brief 100-word author biography for each contributor.
4. Contact information including: Full name, contact information (email), and
affiliation.
DEADLINE FOR PROPOSALS: September 15, 2018
SUBMIT TO: decolonialmusicreader@gmail.com<mailto:teachinganzaldua@gmail.com>
For further information or questions, please contact the co-editors:
Dr. Marco Cervantes: marco.cervantes(a)utsa.edu
Dr. Lilliana Patricia Saldaña: lilliana.saldana(a)utsa.edu
Perez, E. (1999). The decolonial imaginary: Writing Chicanas into history. Indiana:
Indiana University Press.
Quijano, A.(2000). Coloniality of power, eurocentrism, and Latin America.
Nepantla: View from south, 1.3, 533-580.
Rodriguez, R. (2014). Our sacred maiz is our mother: Indigeneity and belonging in
the Americas. Arizona: University of Arizona Press.
Smith, L.T. (2012). Decolonizing methodologies: Research and indigenous peoples
(2nd ed.). New York: Zed Books.
.
________________________________
[1]<https://outlook.office.com/owa/?realm=utsa.edu#_ftnref1> Cem Anahuac is nahuatl
for the land between waters and/or oceans.
Lilliana Patricia Saldaña, Ph.D.
Associate Professor
Mexican American Studies Program
Department of Bicultural Bilingual Studies
College of Education and Human Development
University of Texas at San Antonio