Wednesday, January 31, 2018

Ganadores del Premio Campoy-Ada

Reunido el jurado de la Academia Norteamericana de la Lengua Española, Premio Campoy-Ada de Literatura infantil y juvenil, a 25 de enero de 2018, da a conocer a los ganadores de la primera convocatoria, resaltando su excelente uso de la lengua española.

CATEGORÍA Libros de imágenes

Primer premio
         La abeja de más. Autor: Andrés Pi Andreu. Ilustradora: Kim Amate. Santillana, 2016

Mención de honor
          El mejor es mi papá. Autora: Georgina Lázaro. Ilustradora: Marcela
          Calderón. Santillana, 2016

CATEGORÍA Libros infantiles ilustrados

Mención de honor
           Las caracolas, los payasos y el asombro del mar. Autora e ilustradora:
          Circe M. Lolo. Alexandria, 2017
          Una extraña desaparición. Autora: Liana Fornier. Ilustradora: Ruth Angulo.
          Columbia, 2017

CATEGORÍA  Libros de capítulos

Primer premio
         Rafi y Rosi ¡Piratas! Autora e ilustradora: Lulú Delacre, Lee & Low 2017

CATEGORÍA Novelas infantiles [de 10 a 12 años]

Mención de honor
          El club de los caracoles escarlata. Autora: Daisy Valls. Ilustrador:
          Juan José Catalán. eRiginal Books, 2015

CATEGORÍA  Novelas juveniles [de 13 a 17 años]

Primer premio
         Micaela. Autora e ilustradora: Adalucía. Cholita Prints, 2015

CATEGORÍA Poesía infantil

Primer premio
         Agua, agüita. Autor: Jorge Telt Argueta. Ilustrador: Felipe Ugalde Alcántara.
         Piñata, 2017

Mención de honor
          Poesía Alada. Autora: Mariana Llanos. Ilustraciones: Beatriz Mayorca, Julián
         Galván, Kimberly Nguyen, Mariana Llanos, Rocío Pérez del Solar, Uldarico
         Sarmiento, Ximena Suárez-Sousa. Purple corn. 2017

CATEGORÍA  Poesía juvenil

Primer premio
         La odisea marina de María Traviesa. Autora: Tina Escaja. Ilustradora:
         María José Tobal. Brook Tree Media, 2017


Primer premio
         Conoce a José Martí.  Autor: Antonio Orlando Rodríguez. Ilustrador:
         Pablo de Bella. Santillana, 2016

Mención de honor
          Martí y sus versos por la libertad. Autora: Emma Othegui. Ilustradora:
         Beatriz Vidal. Versión en español: Adriana Dominguéz. Lee&Low, 2017
         ¡Esquivel!. Autora: Susan Wood. Ilustrador: Duncan Tonatiuh. Versión en
         español: Carlos E. Calvo. Charlesbridge, 2016
         Rubén Darío . Autora: Georgina Lázaro. Ilustraciones: Lonnie Ruiz.
         LECTORUM, 2017


Mención de honor
          El planeta azul. Autor: Matt Reher. Versión en español: Lucía M. Sánchez.
         Ilustración fotográfica bajo la dirección de  Traci Dibble. American Reading
         Company, 2017

Tuesday, January 30, 2018

Farm to Fork Feasting. Castillo Workshop. Shoulder to the wheel.

Confluencing Dreams
Michael Sedano

Ancient corn on a farmer's market table catches a tortilla chip-maker's notice. Q leads to A and soon the farmer and chef create a supply chain. Locally-grown, no pesticide, no GMO corn goes directly to the tinas to become Nixtamal, then masa, then the output of a creative chef's skill.

One day diners will fill the chef's own restaurant. For now, as an experiment, the urban farmer and the chef-sans-restaurant hold a Pop-Up Chisme Brunch, at the farm.

The weekend brunch shows what happens when people pursue their dreams to a point they can go public.

The young chef and the urban farmer welcomed four seatings of diners to an alfresco brunch featuring ancient corn masa that included grain that grew last July in a milpa fifty feet from the diners. Also on the plates were McDonald’s Urban Farm citrus, vegetables, and chicken.

Chef Alan Ace cooks on-the-spot, inside a netting tent while guests sip alcoholic beverages paired to each course. Conviviality reigns.

On the bill of fare are tostadas, tacos, ensaladas, aquacate, churro waffle which The Gluten-free Chicano passed on.

The peach jam on that wheat waffle glistened with temptation. The peach tree stands dormant right now, but come Spring she will burst with faery-winged blossoms. And I will dare, when harvest comes.

Chicano kimchee is good stuff. The chile on the camarones hit the spot. I’m not a drinker, but I enjoyed a quaff of the blood orange-valencia orange mimosa. The farmer's grandfather picked valencias for a living. I smile in déjà vu at the aroma of valencias pouring out of my father's picking sack at the end of his workday. Home in the house he built with his own hands.

Maybe one day los McDonald will have a champagne vineyard to go with their citrus for a hyper-local mimosa?

Cauliflower al pastor, ancient grain tortilla

Tostada, McDonald's farm-fresh blanquillo topping bacon avocado, Mexican kimchee, blue corn tortilla
Amelia McDonald, née Sedano, spotted a piece of land and saw possibilities. She inherited her grandfather’s dreams of his own orange grove, and also, a view home. That’s what she and John and Charlotte have on their Altadena tierra. Her grandparents are incredibly satisfied at what they left behind, at the strength of the coming generation.

Chisme Tortilla Brunch shows what self-sustainability looks like. Off to the southwest lies Los Angeles and Catalina Island beyond, a filmy hydrocarbon coating making a hazy line across the distance. Container ships blurry dots out there. GATTland. Dependency and supply chains.

In the immediate foreground happy people eating food harvested here. Up the hill from the diners' forks, fenced from bears and bobcats, McDonald’s chickenada lays multicolored eggs, in another jaula no-name chicks and turkeys fatten. In the corral, the goats will soon wean, then the cheese begins.

Barbara Sedano, Ernie Urlacher, Linda Chaffee, Michael Sedano sip fresh jitomate juice

Chef Ace is a regular at the Altadena Farmers Market (link). You’ll taste the essence of his skill, not the wonders of this one-time pop-up gustatory experience. The market website describes Ace's basic fare:

Chisme Tortilleria makes fresh corn Tortillas, Tortilla Chips and Salsas daily. Using the ancient process of Nixatamal, their masa is made without preservatives. Each tortilla and tortilla chip is hand pressed and made to order. They offer three types of tortilla: Blue Corn, Cactus Corn, and Organic Yellow corn as well as salsa.

The Altadena market specializes in the food that does you good, plus treats, and a few crafts, music, and gente. The Gluten-free Chicano has enjoyed a filbert nut pie here.

It's Altadena. Don’t be upset at the faded Bernie placas on cars, or “immigrants welcome” lawn signs in the area. Altadena was the postwar redlining refuge for people who wanted to live. Today, the large lots, old homes, views, proximity to the hiking trails of the mountains, isolation, and any number of qualities, make the region a dream destination.

Alan Ace looks for his dream in a Covina restaurant-to-be. McDonald’s Urban Farm has set down its roots and lives the dream.

And all those happy diners who got to hug a baby goat, that’s what they said, too.

Ana Castillo Writer Workshop

What does a writer do when she's not selling books? Some sling hash, punch a timeclock, taxi dance, who knows what a person does for a living when they're not creating timeless literature?

Some share their art with others via interview or workshop. If Literature were an industry I'd say Ana Castillo is out looking for her replacement. You're out there. You don't apply for the job. You write. You workshop with other writers. You hone your skills with help from a professional.

La Bloga is happy seeing Castillo plans a 2018 workshop tour to include Pasadena in her "Face Your Fears" workshop series. She launched in Harlem on January 21. The workshop comes to Denver on March 2, and my neigborhood branch of the Pasadena Public Library on March 31.

Spring is in full swing on March 31, so I invited Castillo to consider Casa Sedano as a worksite for a small group. Casa Sedano has never hosted a writer workshop, but we've had Mental Menudos, Back Yard Floricantos, Living Room Floricantos, Book Launches, a Post-Louies Reception, author receptions. Later this year, a quiet 50th Anniversary pachanga. Órale.

The offer to Castillo is open and an "a ver" pending sign-ups via email at We'll for sure throw an open house to the workshoppers since they're only two blocks from Casa Sedano and they'll be hungry after burning all that energy writing. There will be floricanto, too.

Castillo's "Face Your Fears" workshop is scheduled for the Santa Catalina Library from 10 to 1. One hundred fifty dollars per opportunity. For more information and to sign up--only 15 will enroll--use this email link. 

Shoulder Under Construction. Possible Interruption Here.

I cannot remember when I stopped believing in the sanctity of the body, like the nuns and priests drummed into my fellow catechists. No tattoos. No drugs. No sex. (That screwed up high school). It wasn't after the first surgery, the one on my hand. There was that time a team of women threw me onto a cold stainless steel table and came at my waist with scalpels.

Just cut me was my attitude that time a perforated abdomen got all complicated and I crossed over only to return. The nuns were wrong. The purity of a body depends on circumstance and not morality.

So it’s the luck of the draw that this week I go into a sixth surgery. I'll be one-handed for a while.

Three months, the surgeon tells me, I will not have effective use of my right arm as it recovers from rotator cuff surgery. You know, the doctor said, you don’t have to have that done. That’s what the other surgeon said about the bag he installed.

Doc, I replied, I can’t play piano any more, I can’t hold my hands over the keyboard because it hurts so darn much and I'm not that tough any more.

Nor can I garden, split wood for the fireplace, wheel out the trash. Danged if I can type with any comfort at all, even with the Bluetooth keyboard on my lap.  So punch that hole in my shoulder, Doc. In and out same day. But for the next three months, we shall see what we shall see.

Technology to the rescue. My Macintosh laptop computer has speech-to-text capability. As I speak words at a slow pace, text gradually populates the screen, approximating what I say.

My articulation is adequate to produce 90% accuracy. "'Blah blah god Tuesday' is what the computer beers when I say law blog Tuesday." That’s what 25% looks like when I say “La Bloga Tuesday is what the computer hears when I say La Bloga Tuesday.”

Speech recognition has a way to go.

Ravel composed a concerto for left-handed pianist Paul Wittgenstein. Ana Castillo’s character Carmen La Coja is a flamenco dancer. The devil walks with a limp. Lots of things can get done on one limb, and no Eileen jokes.

The night before that last surgery in January 2015, I drafted a farewell letter because I was convinced that was the one with my name on it; the pain was going to kill me. I scheduled the note for delivery two days after the surgery, saying something like "shucks, I didn’t make it". I was feeling maudlin. A couple surgeries back, I’d crossed to the other side and been sent back by the ancestors, I had no fear of dying. It’s everything I was going to miss that made me sad. Makes me sad.

So here I go again. One more time under anesthetic. This time I am going to concentrate on the last moment of reality. Not the part where I feel the veins boil and my body thinks it’s curling up as the sensation sweeps up my arm to flow across my face and every nerve trembles and you're out but you don't know it.

Not that moment. There’s a moment, I look at the vinyl tube going out of sight into my arm, a hand brings a black needle into view. It's amazingly puny the potent needle. A sparkle of eye contact with the anesthesiologist, “ready?”

And that's the moment. “Yes,” I say. She slides in the plunger, a last glimpse of the solid world.

See you next Tuesday. Or, as my grampa said in the face of uncertainties big or small, a ver.

Monday, January 29, 2018

So much is happening at the UCLA Chicano Studies Research Center!

The UCLA Chicano Studies Research Center (CSRC) was founded in 1969 with a commitment to foster multidisciplinary research efforts as part of the land grant mission of the University of California. That mission states that University of California research must be in the service of the state and maintain a presence in the local community.
The CSRC Director is Chon A. Noriega, Phd, Professor Of Film, Television And Digital Media. The Associate Director is Charlene Villaseñor Black, Phd, Professor Of Art History And Chicana/O Studies. To learn about all the fine people who make CSRC possible, visit here.
Here are some of the great things happening at the CSRC:
PPI formally launches
The Latino Politics and Policy Initiative (LPPI) at the UCLA Luskin School of Public Affairs held its public launch event December 6 at La Plaza de Cultura y Artes in downtown Los Angeles. Kevin de Léon, current president pro tem of the California State Senate and a candidate for the U.S. Senate, delivered the keynote address. Other speakers were Sonja Diaz, LPPI founding director; Scott Waugh, UCLA executive vice chancellor; Darnell Hunt, dean of the UCLA Division of Social Sciences at UCLA; Gary Segura, dean of the Luskin School; Laura E. Gómez, professor of law at UCLA and former CSRC Faculty Advisory Committee chair; and Matt Barreto, co-founder of LPPI, professor of political science and Chicana/o studies at UCLA, and CSRC Faculty Advisory Committee member. The CSRC is a partner in this initiative. To view videos and photos from the event go to

Butts exhibition opens at LACE
Names Printed in Black, curated by Emily Butts, former curatorial assistant for Home—So Different, So Appealing, opens January 4 and runs through February 11 at Los Angeles Contemporary Exhibitions (LACE). Home artist Carmen Argote is among the artists in the show, along with Adriana Corral, Carlos Motta, Lisa Soto, and Samira Yamin. Butts’s exhibition is part of the gallery’s Emerging Curators Program.

Huerta presents new works
Home artist Salomon Huerta will present new paintings this month in his solo exhibition Still Lifes. The exhibition, at There There Gallery in Los Angeles, runs January 6 through February 10. For more information, visit the gallery website here.

Gutiérrez film screens at gallery exhibition
On December 29, ¡Por Favor, No Me Entierren! (Please Don't Bury Me Alive!) (1976), directed by and starring Efraín Gutiérrez, was screened at Nous Tous gallery in Los Angeles’s Chinatown. The screening was part of programming developed for the group exhibition Face to Face, Mouth to Mouth, which showcased works by Rosalee Bernabe, Cinthya Guillen, Robben Muñoz, Oscar Ochoa, and Lauren Woore. The exhibition focused on divergent strategies to investigate transnational narratives that have been historically erased, downplayed, and/or forgotten. Gutiérrez’s film, which is widely described as the first Chicano feature film, was recovered by CSRC director Chon A. Noriega in the late 1990s and restored and preserved by the CSRC in collaboration with the UCLA Film and Television Archive. It was inducted into the National Film Registry in 2015.

New videos on CSRC YouTube

·       Artist Daniel Joseph Martinez Discusses "The House America Built" in “Home" at MFAH (November 16, 2017) (video) Artist Daniel Joseph Martinez discusses his artwork The House American Built in the exhibition Home—So Different, So Appealing, on view at the Museum of Fine Arts, Houston (MFAH) from November 17, 2017 through January 21, 2018. This video was captured for the post "When a House Is More Than a Home: Installations by Daniel Joseph Martinez" on the museum's blog, Inside the MFAH. Video produced by the MFAH.
·       Artists Manuel Mendanha and Juliana Laffitte of Mondongo Discuss "Polyptych of Buenos Aires“ at MFAH (November 16, 2017) (video) The artists discuss their work in the exhibition Home—So Different, So Appealing, on view at the Museum of Fine Arts, Houston (MFAH) from November 17, 2017 through January 21, 2018. This video was captured for the post "Filling in the Details: Mondongo and 'Polyptych of Buenos Aires'” on the museum's blog, Inside the MFAH. Video produced by MFAH.
·       MFAH Staff Members Share Memories of 2017—Includes "Home" (December 26, 2017) (video) This video includes shots of works in the CSRC-organized exhibition Home—So Different, So Appealing, including Camilo Ontiveros's sculpture Temporary Storage: The Belongings of Juan Manuel Montes and Daniel Joseph Martinez's sculpture The House That America Built. Both installations are on view at the Museum of Fine Arts, Houston (MFAH) from November 17, 2017 through January 21, 2018. Video produced by MFAH.


Seeking Educational Justice: The 1968 Chicana/o Student Walkouts Made History”
WHEN: Saturday, March 10, 9:00 a.m.–5:00 p.m. (conference and exhibition tour); Sunday, March 11, Noon–4:00 p.m. (film screenings)
WHERE: Fowler Museum at UCLA, Lenart Auditorium
To commemorate the fiftieth anniversary of the East L.A. walkouts, the CSRC will present two days of programming. On Saturday, March 10, a speakers’ program will feature walkout participants and scholars; it will conclude with a tour of an exhibition at the CSRC Library featuring related materials from archival collections. On Sunday, March 11, the 1995 documentary Taking Back the Schools and the 2005 HBO film Walkout! will be screened. Producers Susan Racho and Moctesuma Esparza, respectively, will introduce their films. A Q&A will follow the screenings. This event is organized by the CSRC and cosponsored by the Fowler Museum at UCLA, the Institute of American Cultures, the Division of Social Sciences, the Graduate School of Education and Information Studies, and the César E. Chávez Department of Chicana/o Studies. 
All CSRC events are free and do not require an RSVP unless otherwise noted. Programs are subject to change. For the most current information, visit the Events page on the CSRC website.

CSRC Library

Chicano History mural on view
The celebrated mural Chicano History, by Eduardo Carrillo, Sergio Hernandez, Ramses Noriega, and Saul Solache, will be on public display as part of the exhibition Testament of the Spirit: Paintings by Eduardo Carrillo at the Pasadena Museum of California Art. The mural was painted in 1970 for installation at the CSRC, which had been established a year earlier. The exhibition runs January 21 through June 3, and then travels to the Crocker Art Museum in Sacramento, where it will be on display from June 24 through October 7. For more information, visit:

To schedule a tour of the CSRC Library, contact CSRC librarian Xaviera Flores at

CSRC Press

Home—So Different, So Appealing (special offer)
Now available from CSRC Press: the catalog for Home—So Different, So Appealing, the acclaimed exhibition that explores the universal concept of “home,” whether envisioned as dwelling, residence, or place of origin. Home, which opened at LACMA and is now at the Museum of Fine Arts, Houston, presents the artwork of forty US Latino and Latin American artists. Home breaks ground by placing these works—which span the hemisphere and seven decades of artistic production, from the 1950s to the present, and include paintings, photographs, videos, and multimedia works and installations—in a dynamic dialogue.

Curatorial essays by Chon A. Noriega (UCLA), Mari Carmen Ramírez (Museum of Fine Arts, Houston), and Pilar Tompkins Rivas (Vincent Price Art Museum) discuss the works and explore their interrelationships. The plate section includes installation photographs that show how the exhibition promotes this dialogue without imposing a common identity, cultural influence, or inheritance. With more than two hundred illustrations in a lavish format, Home—So Different, So Appealing is the perfect gift for any art lover—and a beautiful volume for holiday giving. Order the catalog today from the distributor, University of Washington Press, or purchase it directly from the CSRC for half price plus shipping, as a thank you to all CSRC friends for your support of the exhibition! To purchase your copies, contact Darling Sianez at or 310-825-3428. Offer valid through the month of January. 


CSRC Communications and Academic Programs Assistant
The UCLA Chicano Studies Research Center is looking for a part-time (20 hours per week) communications and academic programs assistant to provide clerical and research support to the CSRC, including assisting with event coordination, social media promotion, website maintenance, record keeping, and other communications-based duties as assigned. Fluency in Spanish and English preferred. For additional information and to apply, click here or visit and search Campus Job Openings for requisition number 27168.

IUPLR/Mellon Fellowship Program for 2018-19
The Inter-University Program for Latino Research is now accepting applications for the IUPLR/Mellon Fellowship Program (academic year 2018-19). The program supports ABD doctoral students in the humanities who are writing dissertations in Latina/o studies. Doctoral students in the social sciences whose research uses humanities methods may also be considered. The fellowship facilitates completion of the dissertation and provides professional development, job market support, and mentoring from Latina/o faculty members.

With support from the Andrew G. Mellon Foundation, IUPLR will select fellows through six designated research centers. Applicants must be affiliated with the following centers to be eligible:  

The fellowship includes a $25,000 stipend, participation in an intensive summer institute in Chicago, and professionalization and writing workshops and programs. For more information and to view the online application, visit
Application deadline: Tuesday, January 30. All queries should be directed to the Mellon coordinator, Dr. Jennifer Boles, at UCLA applicants are additionally asked to contact Dr. Rebecca Epstein, CSRC communications and academic programs officer,

To learn more about the CSRC, visit the Center’s website, Wikipedia, Facebook, Instagram, and Twitter, or email at

UCLA Chicano Studies Research Center 193 Haines Hall Box 951544 Los Angeles, CA 90095-1544 Campus Mail Code: 154403 Tel: (310) 825-2363 Fax: (310) 206-1784

Saturday, January 27, 2018

An Interview with Zulia Gotay, Artist

It’s cloudy and threatening rain as my wife and I drive to Zulia’s house in the Dove Mountain section of Maraña, a neighboring city of Tucson, which locals pronounce marana as in the word for pig but actually it’s the word for bramble or tangle or brier.  We arrive and are taken inside where immediately one knows that something creative is going on. Several of her paintings are on the walls, displays of small figures that she created as a child, decorated cigar boxes and the paintings of other artists that she admires. There is an easy flow to this meeting not only because she’s a friend of my wife’s but despite Zulia's misgivings of being unable to communicate with words she is quite articulate.  It is true that her English has a heavy accent revealing that her first language was Spanish.  She talks rapidly and animatedly, and of course a lot of body language accompanies her talk.

Antonio- How did you start your life as an artist Zulia?

Zulia- When I was a little girl I spent a lot of time alone and I was always making figures.  I used whatever I found, a seed for the head of a person, a wooden match for a leg and I would use papier-mâché to cover everything and paint it.  My mother said that I was disparatada, weird or strange because I wasn’t like other girls.  I was always making something.  I hated dolls and never played with them

Antonio-Were you already thinking of yourself as an artist?

Zulia- No I wanted to be a teacher.  When I was ten I opened a school at my house.  I put a sign outside and a lady would bring her three kids and I would teach them. Finally my mother put a stop to it, she says laughing.

Antonio-And where did you grow up?

Zulia-We lived in Ponce, Puerto Rico.

Antonio-And did you get art instruction in school?

Zulia- Yes and after high school I enrolled at the Universidad del Sagrado Corazon and there I studied under Myrna Baez who was a world famous graphic artist.

Antonio- Is that when you started painting?

Zulia- Yes but I was still going to be a teacher and when I got my BA, I went to live in the United State and my husband’s job kept us moving around and I was constantly taking accreditation courses because each state has different requirements.  Finally we went to live in New Mexico and I taught there for several years.

Antonio- Do you have certain motifs that you consciously put into your paintings? I notice that you have a lot of women in bare feet.

Zulia- I think the body of a woman is more beautiful than a man’s.  A woman’s body has more shape.  And because I am a woman I can use myself as a model . As to the bare feet I think that being in touch with the Earth is very good for you.

Antonio- Can you tell me more about how you paint and what you’re thinking as you begin a painting?

Zulia- I always think of three things; design, composition and color.  I consider myself an abstract painter because I don’t follow very closely the rules about drawing a figure such as that the body should be x times larger than the head.  I think that as long as it is believable that it’s ok. For example Cezanne, who is one of my favorite painters, when painting a still life would tilt the table up so that there was a better view of the objects he was painting.  Or he would stretch a portion of the table.  You see, he was not following the established rules.  But if you haven’t studied art you should not break the rules.

Antonio-What about the colors that you like to use?

Zulia- I like my paintings to be happy.  Paintings should give a viewer a happy feeling. And because I grew up in a tropical place I use colors from my experiences there.

Antonio- What about your use of farms and rural countryside, are those motifs also from your life in Puerto Rico?

Zulia-Yes, it’s what I love, a simple home with a clothesline in front and a mother holding a baby.  I love the Amish and the way they live. I don’t like technology very much as I think it’s not good for us. My husband and I went to the Grand Canyon and all the people are busy taking pictures with their phone instead of looking and smelling the canyon and being in the moment. What good are those pictures?  We have a large file in our brain and if I want to paint the Grand Canyon all I have to do is get that file.  It’s there. That's how i paint, from my imagination and from my brain.

Antonio-You mentioned Cezanne as a favorite, are there others?

Zulia- Modigliani, the old masters, Diego Rivera and Alfredo Roldan, a young painter from Spain that I recently discovered.

She shows me a book with one of Roldan’s painting of a seated woman with what seems to be an arm proportionately bigger than the other.

Zulia- You see that arm looks a little big but it’s ok because it is possible.

Antonio- And do you see yourself moving further into abstract painting?

Zulia-I would like to because the more abstract I paint, the more spontaneous I am. And for me that’s very important because it’s through my paintings that I can communicate best. I’m not so good with numbers or words but I can paint.

Her paintings can be seen at the Chim Maya Art Gallery, Los Angeles, and in Tucson at the Jane Hamilton Fine Art Gallery.

Her web site is