Matching Items (3)
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- Genre: Art--Political aspects.
- Genre: Art--Study and teaching (Preschool)--Kuwait--Methodology.
- Genre: Music--African influences.
Description
This thesis seeks to answer the question: "What do artistic representations add to the dialogue about the U.S.-Mexico border and immigration beyond political rhetoric and popular media portrayals?" Drawing on political communications (as put forth by Edelman and Altheide), socio-political construction (particularly the White Racial Frame put forth by Feagin), and collective memory theory (especially those of Halbwachs and Pollak), this thesis uses a dual-coding, content analysis to examine the linguistic and visual messages disseminated through news media. Then, interviews with and the work of six immigrant artists are examined for their contribution to the information put forth in the news media. This study finds that news reporting bias falls along a continuum from pro-immigration to extreme anti-immigration (labeled "fearful" reporting). The news media skew strongly toward anti-immigration to fearful in bias, and there is no opposite pro-immigration bias. Through observations of artists' work, the study concludes that artistic representations of the border can fill this strongly pro-immigration void on this bias continuum.
ContributorsMcCarty, Kelly Erin (Author) / Téllez, Michelle (Thesis advisor) / Stancliff, Michael (Committee member) / Segura, Joseph (Committee member) / Arizona State University (Publisher)
Created2011
Description
To understand the visual culture and art education practices within three ideologically distinct kindergartens, I employed an interdisciplinary approach, utilizing tools from the fields of art, education, anthropology, literary theory, visual studies and critical social theory. Each of the three schools was considered to be the "best" of its kind for the community in which it resided; TBS was the original bilingual school, and the most Westernized. It was set in the heart of a major city. The second school, OBS, operated from an Islamic framework located in an under-developed small transitioning suburb; and the last school, NBS, was situated in Al-Jahra, an "outlying area" populated by those labeled as bedouins (Longva, 2006). The participants' attitudes towards art education unfolded as I analyzed my visual observations of the participants' daily practices. I have produced a counter-hegemonic visual narrative by negotiating my many subjectivities and methods to gain new knowledge and insights. This approach has provided a holistic understanding of the environment in each site, in which attitudes and practices relating to art education have been acquired by the community. Operating from three different educational paradigms, each school applied a different approach to art education. The more Westernized school viewed art as an individual act which promoted creativity and expression. In the Islamic school art was viewed as an activity that required patterning (Stokrocki, 1986), and that the child needed to be guided and exposed to the appropriate images to follow. In the bedouin school, drawing activities were viewed as an opportunity for representing one's individual story as well as a skill for emergent literacy.
ContributorsAl-Bader, Jawaher Khaled (Author) / Young, Bernard (Thesis advisor) / Margolis, Eric (Committee member) / Tobin, Joseph (Committee member) / Arizona State University (Publisher)
Created2012
Description
This dissertation investigates the life and career of singer Celia Cruz and the cultural legacy she has left the Hispanic culture in the United States and the world. It explores the musical journey of the Queen of Salsa and analyzes the different genres and themes that she developed in her performances during the years of her dedication to the public professional career. Among the various topics, this work discusses the African influence on the music of Celia Cruz because she made her first step to fame with the music and lyrics from African religious traditions. Additionally, this project investigates the theme of nostalgia and how Celia Cruz, with her music, helped to perpetuate the nostalgic feelings of Cuban exiles. It surveys the repertoire of songs with nostalgic themes that helps to perpetuate in the memory of the Cuban diaspora, a Cuba that no longer exists and is reflected only in their imagination. This work also examines feminist and queer issues in the life of Celia Cruz, in the lyrics of her songs and in many of her performances. Finally, it explores various stages in Celia Cruz's career that stand out: first, her beginnings in Cuba and Latin America where she soon became known as the Guarachera of Cuba; then, the contribution of Celia Cruz to the salsa music since its appearance in New York, its development in the United States, and its rapid international spread. Similarly, this project shows that Celia Cruz, with her performances worldwide, gained popularity and became the Queen of Salsa. She excelled on indoor and outdoor stages, on the small and big screen, and took her musical talent around the world. Because of her great artistic work, she was recognized for her achievements multiple times and won awards in the United States, Latin America, Africa, Europe, and Asia, finally winning the title of Global Salsa Icon.
ContributorsRodríguez Torres, Caridad Milagros (Author) / Foster, David W (Thesis advisor) / Tompkins, Cynthia M (Committee member) / Urioste-Azcorra, Carmen (Committee member) / Arizona State University (Publisher)
Created2014