1. MAS Resources: A Collaboration of Museo Guadalupe Aztlan and Chicano/a Studies Network 1. Counter-narratives in Chicano/a film, a new film class in fall 2015 at HCC 2. A la mera brava: A Chicano Political Cartoon exhibit 3. Cine Cuauhtemoc Pan American Film Festival 4. Sembradores de Aztlan Oral History Project, focus on activits of the Chicano/a movement in Houston, TX 5. Chicano/a Studies Network organization in Houston, Texas 6. July 11, 2pm: Emma Barrientos Cultural Center, Austin, TX, focus on Memoirs of a Chicano Museum Director 7. First Chicano/a corridos DVD recording

2. The museum’s mission since 1994: To promote indigenous folk arts of the Americas, to include the Chicano(a) -Latino(a) community. Uniqueness of the Museo… *The only museum-on-wheels in Houston, Texas. *A consistent, programming track record since 1994 embracing indigenous folk art *Only museum that presents Dia de los Muertos celebration at the cemetery since 1994 *Only museum that presents a film festival, namely Cine Cuauhtemoc Pan American Film Festival, focused on independent Chicano-Latino from Houston *Depends on volunteers *Not public-funds supported www.museoguadalupeaztlan.orgwww.museoguadalupeaztlan.org chano6_@hotmail.com

3. Masters Thesis Medel, Jesus Cantu. “ Neoindigenism in the Chicano Community: A Site for Praxis in Art Education.” Unpublished Master of Education Thesis, University of Houston, May 2001. Abstract A fertile body of Chicano-Latino artwork has grown beyond the barrio to take root in Houston's landscape. The works themselves sprout from Mexican origins and share a preoccupation with indigenist features. This thesis defines and focuses on this new strain of art, called neoindigenism; it examines neoindigenism's relationship to contemporary Chicano art as well as the glyphs, icons, and stylistic features that define the works. Also, this thesis extends this artistic revolution, directing its momentum to suggest culturally sensitive changes in the art education curriculum within Houston public schools. Neoindigenism in the United States began with the Mexican School of Painting in the early 1930s. The originators of this school were dubbed Los Tres Grandes/ The Big Three: Jose Clemente Orozco, Diego Rivera, and David Alfaro Siqueiros. Many elements in their painting were neoindigenous: the works demonstrate a preoccupation with pre- Columbian icons, motifs, and themes, and they pay equal attention to Mexican life. For the first time, through the works of these three artists and the Mexican School of Painting, Mexicans recognized themselves in contemporary art. Chicano artists, drawn to a movement that captured their own indigenous heritage, responded with a movement of their own. The style that resulted, Chicano art, is unique in reflecting the social, political, and cultural identities of Chicanos. The Chicano art movement of the 1960s continued to develop the neoindigenistic tradition, and by the early 1970s, artists in Houston, Texas were incorporating this approach in their works. This thesis will identify and analyze the neoindigenistic features of local Chicano artwork. In addition, it will recommend art education curricula changes that reflect the cultural composition of the community.

4. What is Chicano/a Art? “A consistent objective of Chicano art is to undermine imposed models of representation and to interrogate systems of aesthetic discourse, disclosing them as neither natural nor secure but conventional and historically determined.” (Tomas Ibarra-Frausto, 1966). “Often the style and iconography of Chicano art refers to the Mesoamerican artistic ideas expressed in replicas of Mayan relief panels, figures from Aztec codices and sculptured Quetzalcoatl heads[Fig. 2] or Olmec style figurines, a reminder of the rich traditions of art in ancient Mexico. These artists have a clear understanding of the subject matter they wish to portray.” (Yvonne Monteverde, 1971). “Chicano-Indian unity was expressed by the Chicano artistic movement in a number of ways, the primary of which is encompassed by what can be called two Indian 'time lines'--that of the pre-Columbian Indian civilizations of Middle America, and the other of the modern Indian cultures in both Mexico and the United States. So pervasive has been the focus... that we can designate this consciousness as neo-indigenist...” (Shirfra Goldman & Tomas Ybarra-Fruasto, 1985).

5. Are Chicano/Mexican American Cultural Centers in Houston Keeping Up With Its Community? *Museo Guadalupe Aztlan (Museum)1,000 sq.ft. *Teatro Bilingue de Houston 333 S. Jensen Dr. Houston, TX 77003-1115 (Theatre)3,750 sq.ft. *M.E.C.A. (Multidisciplinary) *Nuestra Palabra (Literature/Spoken Word) 80 sq.ft. *Festival Chicano (Tejano/Conjunto Music) 11,250 sq.ft. *Conjunto Festival/Centro Aztlan (Conjunto Music) 300 sq.ft.

6. Why the Chicano Art Movement Alicia Gaspar de Alva says… “One form of activism was the Chicano/a art movement; which, which through the popular accessible forms of murals and posters, represented the community’s social problems and injustices while creating a new artistic and politically responsible sensibility.” Artwork below: Ester Hernandez’ Sun Mad (1982)

7. Counter-narratives in Chicano/a film, a New film class in fall 2015 at HCC

8. A la mera brava: A Chicano/a Political Cartoon Exhibit

9. Sembradores de Aztlan Oral History Project, focus on activits of the Chicano/a movement in Houston, TX

10. Emma Barrientos Cultural Center, Austin, TX, focus on Memoirs of a Chicano Museum Director

11. Cine Cuauhtemoc Pan American Film Festival (Founded 1994) Contact: Jesus Cantu Medel chano6_@hotmail.com 713.231.4037

12. First-ever Chicano/a Corridos DVD Recording Featured: 1.Lydia Mendoza 2.Reis Lopez Tijerina 3.Las Soldaderas de la Revolucion Mexicana 4.Rodolfo Corky Gonzalez