Día de los Muertos (Day of the Dead) ofrendas (offerings) in the town of Ajijic, located in Jalisco, Mexico. Photo by Gloria Estela González Zenteno.
Día de los Muertos (Day of the Dead) ofrendas (offerings) in the town of Ajijic, located in Jalisco, Mexico.Photo by Gloria Estela González Zenteno.
View of the lighthouse from the agave garden at the Observatorio 1873 in Mazatlán, Sinaloa, Mexico. Photo by Gloria Estela González Zenteno.
Community members at the Festival Agrocuir da Ulloa, an annual celebration that makes visible the contributions of gender and sexual minorities to rural life in Galicia. In Professor Laura Lesta García’s course on rural Spain, students learn to think critically about the discourses that shape our perceptions of rural spaces, which in turn impacts their relationship to the College and the town of Middlebury.
Students in Professor Mario Higa’s course A Cultural History of Brazilian Soccer get ready to playo jogo bonito (the beautiful game) on a sunny spring day in Vermont.
Tropical storm in Santa Cruz de la Sierra, Bolivia.Photo by Irina Feldman.
The Santa Catalina Arch in Antigua, Guatemala. Photo by Brandon Baird.
Graffiti by Mujeres Creando, a feminist-lesbian-anarchist-Indianist collective from La Paz, Bolivia.
La Borinqueña, by Nuyorican artist and illustrator Edgardo Miranda-Rodriguez, is a superhero comic book featuring Marisol Rios De La Luz, a strong Puerto Rican and Afro-Latina character. In Professor Enrique García’s course Superhero Parodies students delve into the rich comic book traditions of the Hispanic and Latinx world.
A scene from the playDespués de la lluvia (After the Rain), by the Spanish playwright Sergi Belbel i Coslado. Students in Professor Miguel Fernández’s course From Page to Stage: Representing Hispanic Theatre perform plays from across the Hispanic world, allowing them to bring to life what they learn in the Spanish language, literature, and culture classroom.
Film poster for El coraje del pueblo (The Courage of the People), a 1971 film directed by Jorge Sanjinés, a key member of the Grupo Ukamau collective. Students in Professor Irina Feldman’s course Indigenous Peoples and Social Movements in Bolivia analyze this film, which is an important example of the revolutionary, anti-imperialist cinema that emerged in Latin America in the 1960s and 1970s.
