
Lydia Mendoza's Life in Music / La Historia de Lydia Mendoza Norteño Tejano Legacies includes audio CD
by Broyles-Gonzalez, Yolanda-
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Summary
Author Biography
Yolanda Broyles-Gonzalez is jointly Professor of Chicano Studies and Affiliate Professor of German Studies at the University of California at Santa Barbara. Her publications include Re-emerging Native Women of the Americas: Native Chicana Latina Women's Studies (2001) and El Teatro Campesino: Theater in the Chicano Movement (1994).
Table of Contents
About This Book | p. xi |
Brief Chronology | p. xv |
Let's weave that story by telling it | p. 3 |
When I arrived in San Antonio, there were no women singers | p. 5 |
We toiled and toiled | p. 12 |
And that's how I began to learn my songs | p. 17 |
In San Antonio they never paid me for my work | p. 20 |
My career was not cut off by my husbands (the Mendoza Family) | p. 28 |
What's upon us is ... modern times (San Antonio in the 1920s and now) | p. 37 |
Musical interlude | p. 40 |
Lydia Mendoza, the teacher | p. 41 |
That has been my life and long career (different types of performances, ambiences, and audiences) | p. 42 |
That's the artistry: the art of feeling | p. 47 |
Life ... that's what has taught me (art across the generations of women) | p. 49 |
Musical interlude | p. 52 |
Persevere! Don't hold back; don't give up! (surrender to music: a whole lifetime) | p. 52 |
Let the women singers emerge! | p. 54 |
I really have a lot of faith in the spirits | p. 61 |
My mother would teach us these things | p. 62 |
Musical interlude | p. 73 |
There were many theaters in those years | p. 74 |
We northerners: nosotros los nortenos | p. 78 |
The Two Great Women of Texas | p. 81 |
What more can I ask of life? | p. 84 |
Vamos hilvanando aquella historia: platicandola | p. 91 |
Cuando yo llegue a San Antonio, no habia mujeres que cantaran | p. 93 |
Asi anduvimos afanando y afanando | p. 100 |
Asi fue como fui aprendiendo yo mis canciones | p. 105 |
En San Antonio nunca me pagaron mi trabajo | p. 108 |
Mi carrera no me la cortaron mis esposos (la Familia Mendoza) | p. 116 |
Es que vienen tiempos modernos (San Antonio en los anos 20 y ahora) | p. 125 |
Pausa musical | p. 128 |
La maestra, Lydia Mendoza | p. 128 |
Esa ha sido mi vida en mi larga carrera (differentes tipos de tocadas, ambientes y publicos) | p. 130 |
Ese es al arte, el arte de sentirlo | p. 135 |
La vida es la que ma ha ensenado (el arte a traves de generaciones de mujeres) | p. 137 |
Pausa musical | p. 140 |
No se arrienden! No se queden atras! (seguir en la musica: toda una vida) | p. 140 |
Que surjan las cancioneras! | p. 142 |
Tengo mucha fe en los espiritus | p. 149 |
Mi madre nos ensenaba esas cosas | p. 150 |
Pausa musical | p. 161 |
En aquellos anos habia muchos teatros | p. 162 |
Nosotros los nortenos | p. 166 |
Las Dos Grandes de Texas | p. 169 |
Que mas puedo pedirle a la vida? | p. 172 |
Background and analysis | p. 177 |
Participation in this historia | p. 178 |
Lydia Mendoza and the social powers of music | p. 181 |
Autonomous domains of self-power | p. 182 |
Lydia Mendoza's norteno performance repertoire: performance tradition and the creation of social meaning | p. 190 |
Changing borderlands musical languages | p. 192 |
Lydia Mendoza and the cancion ranchera | p. 196 |
Gendered historia: performing indigenous women's working-class history (a way of talking) | p. 200 |
Making historia/Making history | p. 205 |
The web of oral tradition | p. 210 |
Negotiating the space and movement between orality and print culture | p. 211 |
Notes | p. 217 |
Appendix | p. 225 |
Index | p. 227 |
Table of Contents provided by Rittenhouse. All Rights Reserved. |
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