Abstract
Each November, thousands of people gather in the small downtown of Tucson, Arizona, for a ritualistic and participatory event known as the All Souls Procession. While the Procession has drawn criticism for the cultural appropriation embedded in many of its crafting practices, its stakeholders are hesitant to acknowledge a meaningful connection to Dia de los Muertos as they frame the procession as an “authentic†multicultural event. Rather than flattening our engagement with the All Souls Procession into an either/or binary by solely condemning its problematic dimensions or praising its creativity, we choose to embrace the event's complexity by continuing a both/and critical framework: a way of looking at the world that resists two-dimensional, binary categories. Our web-text takes the form of a multimedia scrapbook, a compilation of artifacts, sketches, sounds and snapshots that reflect our layered memories—as well as the layered histories—of the 2014 All Souls Procession. Through our craft, we invite you to explore some of the complexities of craft culture in community practice.
DOI
10.15760/harlot.2015.14.4
Persistent Identifier
https://archives.pdx.edu/ds/psu/39480
Creative Commons License
This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 3.0 License.
Recommended Citation
Bentley, Lizzy and Sanchez-Avila, Joanna
(2015)
"Under the Mask: Creative Dis/Possessions of Borderlands Remembrance Practices,"
Harlot: A Revealing Look at the Arts of Persuasion:
No.
14, 4.
https://doi.org/10.15760/harlot.2015.14.4