{"id":3538,"date":"2022-05-30T15:06:33","date_gmt":"2022-05-30T15:06:33","guid":{"rendered":"https:\/\/kuenstlerische-interventionen.de\/?p=3538"},"modified":"2022-06-23T12:26:15","modified_gmt":"2022-06-23T12:26:15","slug":"gloria-e-anzaldua-as-method-in-decolonial-art-art-education-and-politics","status":"publish","type":"post","link":"https:\/\/kuenstlerische-interventionen.de\/en\/symposium-detail\/gloria-e-anzaldua-as-method-in-decolonial-art-art-education-and-politics\/","title":{"rendered":"Gloria E. Anzald\u00faa as method in decolonial art, art education and politics"},"content":{"rendered":"<p><strong>Verena Melgarejo-Weinandt &#8211; Centering Artistic Mediation from a curatorial point of view: &#8220;Gloria E. Anzald\u00faa as method in decolonial art, art education and politics&#8221;<\/strong><\/p>\n<p>In my participative lecture I would like to present my educational work around the work of the decolonial and feminist pioneer Gloria E. Anzald\u00faa* and specifically her book \u201eBorderlands\/ La Frontera: The New Mestiza\u201c which I am translating together with the translation collective Chaka into German. Over the span of the last 7 years I was able to expand this translation practice into several formats, but the educational work with many other artists has been a major focus of this process and many workshops have been a site of Un\/learing with and through Anzald\u00faas Methodology of Knowledge Production. I would like to present and discuss several concrete examples of these workshops and exchange on our knowledge\/ experiences of un\/learning though artistic practices following these questions:<\/p>\n<p>&nbsp;<\/p>\n<p>Why is artistic educational (translation) work around Anzald\u00faa politically and spiritually relevant and necessary? How have marginalised voices and positions received Anzald\u00faa and fought for her dissemination in the German-speaking countries? Anzald\u00faa\u2018s knowledge production is based on knowledge that is based on lived experience, that arises in and from the chicana community, knowledge that is not institutionally anchored. What knowledge can be visible and localized locally with the help of Anzald\u00faa\u2019s \u201ctools\u201d? How can we build bridges from Anzald\u00faa to other knowledge and positions?<\/p>\n<p>&nbsp;<\/p>\n<p>*GLORIA E. ANZALD\u00daA (1942 \u2013 2004) was a self-proclaimed \u201cChicana, tejana, from the working class, dyke-feminist poet, author-theorist\u201d. Her book Borderlands\/La Frontera shifts and complicates the concept of what is considered a border. Based on the history of the Mexican-American border, a geographical definition is expanded and presented not only as a violent but also as a potentially transforming space within which opposites, differences and paradoxes coexist, collide and enable change. Her work inspires artists, authors, researchers and activists through many generations. Her groundbreaking work is an important reference for people working with decolonial feminism(s), intersectional Queer Theory and Movements and indigenous Spirituality. Anzald\u00faa is one of the most important voices of the Chicanx Movement in the USA.<\/p>\n<p>&nbsp;<\/p>","protected":false},"excerpt":{"rendered":"<p>Verena Melgarejo-Weinandt &#8211; Centering Artistic Mediation from a curatorial point of view: &#8220;Gloria E. Anzald\u00faa as method in decolonial art, art education and politics&#8221; In my participative lecture I would like to present my educational work around the work of the decolonial and feminist pioneer Gloria E. Anzald\u00faa* and specifically her book \u201eBorderlands\/ La Frontera: [&hellip;]<\/p>\n","protected":false},"author":6,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"templates\/template-symposium.php","format":"standard","meta":{"footnotes":""},"categories":[23],"tags":[],"_links":{"self":[{"href":"https:\/\/kuenstlerische-interventionen.de\/en\/wp-json\/wp\/v2\/posts\/3538"}],"collection":[{"href":"https:\/\/kuenstlerische-interventionen.de\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/kuenstlerische-interventionen.de\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/kuenstlerische-interventionen.de\/en\/wp-json\/wp\/v2\/users\/6"}],"replies":[{"embeddable":true,"href":"https:\/\/kuenstlerische-interventionen.de\/en\/wp-json\/wp\/v2\/comments?post=3538"}],"version-history":[{"count":4,"href":"https:\/\/kuenstlerische-interventionen.de\/en\/wp-json\/wp\/v2\/posts\/3538\/revisions"}],"predecessor-version":[{"id":3766,"href":"https:\/\/kuenstlerische-interventionen.de\/en\/wp-json\/wp\/v2\/posts\/3538\/revisions\/3766"}],"wp:attachment":[{"href":"https:\/\/kuenstlerische-interventionen.de\/en\/wp-json\/wp\/v2\/media?parent=3538"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kuenstlerische-interventionen.de\/en\/wp-json\/wp\/v2\/categories?post=3538"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kuenstlerische-interventionen.de\/en\/wp-json\/wp\/v2\/tags?post=3538"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}