A Taino Indian boy on the island of San Salvador recounts the landing of Columbus and his men in 1492.

"Why is everyone so quiet? Is this the democracy you wanted?" So ask the Zapatistas, the group of indigenous Mexicans who, on January 1, 1994, mounted a rebellion against the implementation of NAFTA, political corruption, and the slow, unreported genocide of indigenous people worldwide. As the group expressed their demands and revealed their tactics, it quickly became obvious that they were less an armed guerilla force seeking to seize state power, and much more a social movement seeking to catalyze civil society's full democratic power. For this reason Mexican political analyst Gustava Esteva has called the Zapatista rebellion "the first revolution of the 21st century." He explains that whereas the revolutions of the 20th century were tests for state power, the Zapatista struggle was for greater local autonomy, economic justice, and political rights within the borders of their own communities. Zapatista Encuentro contains documents and communiqués from Subcomandante Marcos - the leader of the Zapatistas - from the 1996 Encounter for Humanity and Against Neoliberalism. This remarkable event brought together 5,000 activists from all over the world to discuss how globalization (neoliberalism) affects us politically, culturally, economically, and socially.

Discusses the growing population of Hispanic-Americans worshipping in the Catholic Church in the United States.

More than twenty years after the ground-breaking anthology This Bridge Called My Back called upon feminists to envision new forms of communities and practices, Gloria E. Anzaldúa and AnaLouise Keating have painstakingly assembled a new collection of over eighty original writings that offers a bold new vision of women-of-color consciousness for the twenty-first century. Written by women and men--both "of color" and "white"--this bridge we call home will challenge readers to rethink existing categories and invent new individual and collective identities.

This book, paying attention to the axes of identity, strategy, and democracy, grew out of the authors' shared and growing interest in contemporary social movements and the vast theoretical literature on these movements produced during the 1980s, particularly in Latin America and Western Europe.

In this historical study, Lara Medina examines the early development and continuing influence of Las Hermanas, a feminist organization established in 1971 to counter the patriarchy and Eurocentrism of the U.S. Catholic Church. Medina weaves archival research and oral interviews into a cohesive narrative that highlights the keen ethnic and political awareness among the movement's leaders and participants. Medina also illuminates the strides made by Las Hermanas in undermining and reorienting the male-dominated structure of both the Catholic ministry and the Chicano civil rights movement. By showing how the group has engaged such issues as moral authority, sexuality, and domestic abuse through its religiously informed efforts in grassroots community organizing and education, Medina showcases the crucial role played by Las Hermanas in the articulation of a spiritually and politically grounded Latina/Chicana identity.

This anthology has its origins in the Encuentro theater festival, which was produced by the Latino Theater Company in association with the Latinx Theatre Commons in Los Angeles in 2014. Encuentro means “an encounter,” and meetings form a core theme in these six groundbreaking plays, each prefaced by a critical introduction from a leading Latinx theater scholar. Playwrights Ruben C. Gonzalez, José Torres-Tama, Rickerby Hinds, Mariana Carreño King, Javier Antonio González, and Evelina Fernández exhibit a wide range of aesthetic approaches, dramatic structures, and themes, ranging from marriage, gentrification, racial and gendered violence, migration, and the ever-present politics of the U.S.–Mexico border. There is power in the communal experience of creating, witnessing, and participating in theater festivals. This anthology is a testament to that power and seeks to document the historic festival as well as to make these works available to a wider audience. Encuentro: Latinx Performance for the New American Theater addresses interests of general audiences committed to the performing arts; scholars and students of Latinx, gender, and ethnic studies; university, college, and high school theater programs; and regional theaters looking to diversify their programming.