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Description
Mariachi music is a significant piece of Mexican culture that has been around since the nineteenth century. Although it was created in Mexico, mariachi is deeply rooted in the history of the United States. With a large population of Mexicans and Mexican-Americans living in the Southwest, mariachi music has been both refined in the United States and ever-present as a staple of the Mexican/Mexican-American culture. Traditionally, the composition of a mariachi group is all male. Even today, mariachi is still a male dominated genre. In the early years of mariachi, women had no place in the genre, as musicians, composers, or directors. During the time when mariachi was forming and becoming a more defined genre, Mexican women were not considered able or skilled enough to do many things that men could do, just based solely on their gender. This included being a mariachi musician. A woman's place was not anywhere else but as a carer of the house and the family. This ideology has changed with time, with the incorporation of women in majority-male groups, mixed gender groups, and the invention of the all-female mariachi group. However, culture, language, and geographical barriers still play a significant role in the dynamics of mariachi music today. This creative project, which incorporates interviews of multiple women who currently perform in mariachi, culminating in an informational website, will explore and analyze these different barriers within the genre of mariachi, and will explore the culture of Mexicans and Mexican-Americans living in the United States.
ContributorsFigueroa, Desiree Daunice (Author) / De La Torre, Monica (Thesis director) / Smith, Michael (Committee member) / School of Community Resources and Development (Contributor) / School of Humanities, Arts, and Cultural Studies (Contributor) / Barrett, The Honors College (Contributor)
Created2018-12
DescriptionA short film where female actresses are given the opportunity to play male Shakespeare roles breaking gender norms.
ContributorsLass, Alaina (Author) / Espinosa, Micha (Thesis director) / Hunt, Kristin (Committee member) / School of Community Resources and Development (Contributor) / School of International Letters and Cultures (Contributor) / School of Music, Dance and Theatre (Contributor) / Barrett, The Honors College (Contributor)
Created2020-12
Description
Mainstream women's magazines today pride themselves on promoting women and female empowerment but continue to show majority thin, attractive, and usually wealthy, white women in the pages and on the covers. This narrow view of what it looks like to be a woman puts minority groups on the peripheral. Women of color, low-income women, homosexual or transgender women are also women, but they have these "of color" and "low-income" title add-ons because when one thinks "woman," they are not what comes to mind. This begs the question: are these magazines pro all women, or only pro some women? This paper documents the process of starting an inclusive women's media startup, with the digital magazine being its first and primary channel to reaching consumers. It seeks to develop a niche, loyal audience who cares to think in-depth about the many issues facing all women today. Contentment Magazine's subject matter focuses on starting conversations about what it means to live a fulfilled and content life, and it prioritizes diversity in its pages because it recognizes how the intersection of gender, race, class, sexuality, and more might affect one's ability to be content. The first section of this report focuses on research and demonstrating the need for a publication like Contentment and how Contentment plans to fill the voids; the second portion dives into the trials, tribulations and successes of putting together the first prototype issue; and the last section deals with converting the startup into a viable business.
ContributorsSeely, Taylor Breigh (Author) / Hill, Retha (Thesis director) / Werner, Karen (Committee member) / School of Community Resources and Development (Contributor) / Walter Cronkite School of Journalism and Mass Communication (Contributor) / Barrett, The Honors College (Contributor)
Created2016-12
Description
The Freedom of Information Act (1966), an amendment altering Section Three of the Administrative Procedure Act (1964), outlines the rules and regulations for United States citizens to obtain federal government records. The act, written with the guidance of journalists, was created for all members of the public, but with the intent that the press would be the primary users of the legislation. The authors of the act believed the press would utilize FOIA to enhance its ability to accomplish its duty of keeping the public informed. Now, 51 years after the act was passed into law, critics say FOIA has not satisfactorily allowed the press or the public in general to inform and be informed. Issues with demand rates, unorganized systems and subjective interpretations of the act have combined to lock information from public access through an act that was intended to be the key to it. The data from annual federal agency FOIA reports to the attorney general from 2008 to 2015 have indicated that, in multiple metrics, FOIA has increasingly struggled to fulfill and often has failed to provide records to requesting parties. These trends have inspired a discussion among journalists and right-to-information advocates about how to best resolve the issues that have contributed to them. Proposed solutions range from adjustments to requesters' approaches to the act, amendments to the act and even abandoning the act entirely in favor of constructing a new law.
ContributorsPrime, Tyler Scott (Author) / Russomanno, Joseph (Thesis director) / Douglas, Anderson (Committee member) / School of Community Resources and Development (Contributor) / Walter Cronkite School of Journalism and Mass Communication (Contributor) / Sandra Day O'Connor College of Law (Contributor) / Department of Information Systems (Contributor) / Barrett, The Honors College (Contributor)
Created2016-12