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What is Tropicalism

Hispanic Women/Latina Leaders Overcoming Barriers in Higher Education
Tropicalism erases specificity and homogenizes all that is identified as Latin and Latina/o. Under the trope of tropicalism, attributes such as bright colors, rhythmic music, and brown or olive skin comprise some of the most enduring stereotypes about Latina/os, a stereotype best embodied by the excesses of … hypersexualization (Molina Guzmán & Valdivia, 2004, p. 211).
Published in Chapter:
Overcoming Barriers
DOI: 10.4018/978-1-7998-3763-3.ch004
Abstract
After a childhood of limited educational opportunities, lack of proportional representation, along with social stigmas in addition to the institutional barriers, Latinas and Hispanic women who overcame them all to acquire a professional degree still have to deal with the lack of recruitment, retention, and opportunities for promotion in employment within higher educational institutions. Because of the reality of skin color, heavy accent, and the historical White male middle class, institutions throughout the social system have created barriers for Hispanic women/Latinas, barriers that continue to prevent them from holding a full-time or attaining a tenured position in academe. The following sections will describe each of the barriers that impede Hispanic women in their advancement in educational institutions. The author will address how an invisible barrier, or glass ceiling, concrete ceiling or concrete wall, labyrinth, sticky floor, gated community, female androgynous behavior, and Jezebel stereotypes prevent women from achieving leadership positions in the academic profession—although a few do make it. For those who do become leaders, the questions become, “How did they do it?” “What barriers did they overcome and what supports enabled them to succeed?”
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Dismantling Taboos in Brazilian Popular Music Through the Works of Ceatano Veloso and Chico Buarque: Aesthetic-Social Provocations, Disruptions, and Obliterations
Brazilian artistic and cultural movement, created in the late 1960s, whose two great exponents were Caetano Veloso and Gilberto Gil, and whose objective was to propose a new interpretation of Brazilian art, culture, and music, more contemporary and international.
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