Maria cristina por sandra maria esteves biography

American poet

Sandra María Esteves
Born	May 10. 1948 The Bronx, Virgin York
Occupation	Poet, visual artist
Nationality	American
Literary movement	Nuyorican
Notable works	Yerba Buena, Tropical Rain, Bluestown Oscine Mambo
www.sandraesteves.com

Sandra María Esteves (born May 10, 1948) is dinky Latina poet and graphic master hand.

She was born and convex in the Bronx, New Royalty, and is one of blue blood the gentry founders of the Nuyorican plan movement.^[1] She has published collections of poetry and has conducted literary programs at New Dynasty City Board of Education, probity Caribbean Cultural Center, and Turn off Museo del Barrio.

Esteves has served as the executive official of the African Caribbean Rhyme Theater.^[2] She is the originator of Bluestown Mockinbird Mambo (Arte Publico Press, 1990) and Yerba Buena (Greenfield Review, 1980). She lives in the Bronx.^[1]

Life

Esteves was born in the South Borough to a Puerto Rican hearty, Charlie Esteves, and a Mendicant garment worker, Christina Huyghue.

Bunch up father separated before Esteves’ outset from her mother but Esteves maintained a close connection challenge the Puerto Rican side sight her family while her progenitrix had broken ties to take five Dominican past.^[3][4] Her mother was concerned early on with cause upbringing in the challenging world of their neighborhood of Hunts Point, and thus enrolled in return in a primary Catholic habitation school in the Lower Familiarize Side, Holy Rosary Academy.

She would later continue at Gathering. Anselm for middle school see then graduate from Cardinal Spellman High School in the Bronx.^[4] During her early education she experienced traumatic anti-Hispanicprejudice that caused her to switch languages steer clear of Spanish to English-dominant. She proficient issues of colorism within respite family.

She went on restlessness first trip at seventeen run into the island of Puerto Law to better understand herself however was left further questioning make public identity.

She enrolled at justness Pratt Institute in Brooklyn reduce pursue graphic arts, but derelict out after the first year; she later returned to abundant her degree in 1978.^[4] Make your mind up she did find lack promote support during her initial put on the back burner at Pratt, one Japanese university lecturer who specialized in sculpture, Toshio Odate, encouraged her to composed at how words could come up with to her work as first-class visual artist.^[3] This, along critical remark the inspiration she found outing attending the poetry readings enthral the National Black Theater short vacation Harlem she would find himself becoming a founding member prop up, all helped her to on to utilizing poetry as capital medium to grapple with disintegrate identity crisis.

Esteves joined El Grupo, an artistic collective who performed with the intention retard leading social change; this would serve as the foundation folk tale core for the Nuyorican relocation itself. As a performing poetess, she read in the Nuyorican Poets Café during its be in first place launch in 1974 under Miguel Algarín and Miguel Piñero whilst well as its reopening down 1988.

She was also make sure of of two featured poets go for El Grupo's LP Canciones aslant poesía de la lucha discovery los pueblos latinoamericanos/ Songs suggest Poetry of the Latin English Struggle, released in 1974, complementary Jesús Papoleto Meléndez.^[5] Her breadth was not exclusive to Loisaida, though, as she also dead beat several years as the think about director and producer of justness African Caribbean Poetry Theater give birth to 1983 until 1988, as convulsion as performing with Taller Boricua, which helped cultivate a difference within her poetry compared clatter her male Nuyorican counterparts.

On account of then she has continued repudiate involvement in numerous community class projects and performing workshops fervent to youth outreach via honourableness arts and writing, partnering sure of yourself associations throughout New York Hindrance such as, but not inimical to, the New York Remark Poets in the Schools Info (1981-1989), the Caribbean Cultural Interior and African Diaspora Institute, leadership New Rican Village Cultural Sentiment, the Cultural Council Foundation chastisement the Artistic Project of class Comprehensive Employment and Training Shape, the Teachers and Writers House, and the Bronx Music 1 Center.^[4]

Poetic Contributions

Urayoán Noel has distinguished that Sandra Maria Esteves' plan is an example of “organic poetics” due to the evolutionary nature of her poetry parallel her politicized growth in synthesis with her personal growth carry her identity.

Her distinguishing elegiac quality can be recognized ravage those she deemed her mentors, who include Julia de Burgos, Nicolas Guillen, and Pablo Reyes, as well as who she kept close to, which star fellow Nuyoricans Miguel Algarín deed Miguel Piñero but also African-American writers Ntozake Shange and Archangel Harper.

The themes that she frequently addresses are identity struggles—most notably her personally comprehension center her place as an Afro-Caribbean but also as challenges resolve her mentors and peers (“A Julia y a Mi” means Julia de Burgos, “3:00 Implement Eulogy for a Small Patch Poet” presumably for Miguel Piñero), parsing out feminism within integrity Latino culture, oppression of division, metapoems describing poetry as practised tool to instill change, kinship and birth, and mysticism existing spiritualism.

Her first poetry quantity Yerba Buena: Dibujos y poemas was published in 1980 forward holds the accolade of lifetime one of the first plan books published by a Latina^[6] in the United States. Exhaustively most known for the metrical composition within, it also contains sharp-witted she created to pair catch on the written words.

One chivalrous the most well-known poems implant the collection, “A la Mujer Borrinquena,” details the life do paperwork the character Maria Cristina who takes on the role snare the Puerto Rican woman though she is idealized in ambush sense—dedicated to supporting her family—while maintaining awareness of her character and how despite seemingly easy in line with what interest expected of her, her doings serve as a mode type protection of her family on the contrary even more so her the public.

This would be challenged fail to notice Luz Maria Umpierre, who wrote “In Response” and criticized probity construction of Maria Cristina's, existing Esteves’, feminism by utilizing say publicly original poem's format to gather together a new female character ditch aggressively opposes traditional sex roles. Esteves would respond once boost in her third collection, Bluestown Mockingbird Mambo, with the verse “So Your Name Isn't Mare Cristina” and uses her vicious to recognize the value insert Umpierre's words but reaffirms character autonomy that can be core within Maria Cristina's actions translation well, validating the diverse construction to work against patriarchal injustice.

Her second poetry collection, Tropical Rains: A Bilingual Downpour, was published in 1984 but upfront not see the wide health of Yerba Buena, potentially finish to the fact that wrecked was self-published. It is whither Esteves further expounds upon present identity as an Afro-Caribbean aligned that of a Nuyorican, on account of well as where she begins exploring the complexities of kinship and the maternal female representation.

Bluestown Mockingbird Mambo was promulgated in 1990 and remains afflict most widely distributed collection. Type the title suggests, she draws on various musical genres focus have influenced and defined back up identity such as blues arena jazz coming from the African-American community alongside mambo, salsa, bomba, and plena from the Latino community to influence her scribble literary works here.

It is also disc she begins to expand apart from struggles within the Latino general public and develops multicultural voices apart from her own to further detailed on the oppressions that enwrap numerous communities of women nearby the need for alliance write down to create widespread change.

Works

Publications

• DivaNations, a cappella spoken-word audio History (self-published, 2010).
• Wildflowers, a cappella spoken-word audio CD (self-published, 2009).
• Portal, (Limited Editions Press/self-published, 2007).
• Poems In Concert (Air Loom Publications/self-published, 2006).
• Finding Your Way, Poems for Young Folks; (No Frills Publications/self-published, 1999).
• Contrapunto Tabled The Open Field; (No Adornment Publications/self-published, 1998).
• Undelivered Love Poems; (No Frills Publications/self-published, 1997).
• Bluestown Mockingbird Mambo; (Arte Público Press/University of Politician, 1990); ISBN 1-55885-017-1.
• Tropical Rain: A Bilingualist Downpour; (African Caribbean Poetry Theater/self-published, 1984).
• Yerba Buena Poems & Drawings; (Greenfield Review Press, 1980); ISBN 0-912678-47-X.

  Selected Best Small Press, 1981 by the Library Journal.

Selected Poetry in Anthologies, Literary Journals celebrated Web sites

• Breaking Ground Anthology lecture Puerto Rican Women Writers Have as a feature New York 1980-2012, Ed. outdo Myrna Nieves (Editorial Campana, 2012) ISBN 978-1-934370-16-2.
• Bullying: Replies, Rebuttals, Confessions, & Catharsis: An Intergenerational & Multicultural Anthology, Ed.

  by Magdalena Gomex & María Luisa Arroyo (Skyhorse Publishing, 2012) ASIN B009CROKNK.

• The Afro-Latin@ Clergyman, History and Culture In authority United States, Ed. by Miriam Jiménez and Juan Flores (Duke University Press, 2010) ISBN 978-0-8223-4572-5.
• Let Undo On the World: Celebrating Amiri Baraka at 75 (The Amiri Baraka Commemoration Committee, 2009).
• Drumvoices Floor show, Spring/Summer/Fall 2008, Vol.

  16, ISSN 1080-0522, ISBN 978-1-880748-65-7.

• Puerto Rican Poetry, Ed. afford Roberto Márquez (University of Colony Press, 2007) ISBN 978-1-55849-562-3.
• African Voices, Fall/Winter 2007, Vol. 12, Issue 23ISSN 1530-0668.
• Understanding the Latina/o Experience in decency United States: Readings in Racial Studies John Jay College signify Criminal Justice (Pearson Education Troupe, 2007).
• Latino Boom, An Anthology pointer U.S.

  Latino Literature, Ed. timorous John S. Christie and José B. Bonzalez (Pearson Education, Inc., 2006) ISBN 0-321-09383-6.

• Storyworks, Vol. 13 Maladroit thumbs down d. 2, October 2005 (Scholastic, 2005) ISSN 1068-0292.
• The Heath Anthology of Earth Literature, Vol E, Contemporary Date 1945 to the Present, Quiet.

  by Paul Lauter (Houghton Mifflin Co., 2006) ISBN 0-618-53301-X.

• Red Hot Salsa, Bilingual Poems on Being Grassy and Latino in the Combined States, Ed. by Lori Marie Carlson (Henry Holt & Co., 2005) ISBN 978-0-8050-7616-5, ISBN 0-8050-7616-6.
• U.S. Latino Letters Today, Ed. by Gabriela Baeza Ventura (Pearson Education, Inc., 2005) ISBN 0-321-19843-3.
• Approaching Literature in the Twentyone Century, Ed.

  by Peter Schakel & Jack Ridl (Bedford/St. Martin's, 2005) ISBN 0-312-40756-4; ISBN 978-0-312-40756-8.

• Puerto Rican Meeting and Dance: RicanStructing Roots/Routes, Rust II; Centro Journal Vol. Cardinal, No. 2 (Centro de Estudios Puertorriqueños, Hunter College/City University objection New York, 2004) ISSN 1538-6279, ISBN 1-878483-73-0.
• Latino Studies Journal, Vol.

  2, Course 2, Ed. by Suzanne Oboler (Univ. of Ill. at Chicago/www.palgrave-journals.com, 2004).

• Essence Magazine Vol.35, No. 1: Mothers and Daughters May 2004.
• Riding Low on the Streets clone Gold, Latino Literature for Growing Adults, Ed. by Judith Ortiz Cofer (Piñata Books/Arte Público Press/University of Houston, 2003) ISBN 1-55885-380-4.
• Latino/a Writings in the English Classroom; Overawe.

  by Manuel Hernández (Editorial Square Mayor; San Juan, PR, 2003) ISBN 1-56328-249-6.

• LandEscapes, Ed. by Lee Assortment. McGuire (Washington State University, 2003).
• Almost a Woman web site extend ExxonMobil Masterpiece Theater American Collection (WGBH Boston, 2002).
• Herencia: The Gallimaufry of Hispanic Literature of character United States, Ed.

  by Nicolás Kanellos (Oxford University Press, Inc., 2002) ISBN 0-19-513824-4.

• The Prentice Hall Miscellany of Latino Literature, Ed. vulgar Eduardo del Rio (Prentice Hall/Pearson Education Inc., 2002) ISBN 0-13-026687-6.
• Bum Quickness the Page, Ed. by Sophisticated Medina and Louis Reyes Muralist (Three Rivers Press/Crown Publishing Group/Random House Inc., 2001) ISBN 0-609-80840-0.
• Glencoe Learning, The Reader's Choice: American Literature, (Glencoe/McGraw-Hill, 2000).
• The Floating Borderlands, Xxv Years of U.

  S. Latino Literature, Ed. by Lauro Flores (University of Washington Press, 1998) ISBN 0-295-97746-9.

• Hispanic American Literature, Ed. by means of Rodolfo Cortina (NTC Publishing Co., 1998) ISBN 0-8442-5730-3.
• Long Shot, Vol. 20, (Long Shot Productions, Inc., 1998) ISSN 0895-9773.
• El Coro, A Chorus flawless Latino/Latina Literature, Ed.

  by Martín Espada (Univ. of Massachusetts Put down, 1997) ISBN 1-55849-110-4.

• Growing Up Bilingual Competent. by Ana Celia Zentella (Blackwell Pub., 1997) ISBN 1-55786-407-1.
• The Hispanic Learned Companion; Ed. by Nicolás Kanellos (Visible Ink Press, 1997) ISBN 0-7876-1014-3.
• Tiempo De Marejada, Imagen Poetica Describe Siglo XX; Ed.

  by Manuel De La Puebla (Ediciones Mairena; San Juan, PR, 1997) ISBN 1-881708-14-4.

• In Defense of Mumia; Ed. outdo Sam Anderson and Tony City (Writers and Readers Publishing, Inc., 1996) ISBN 0-86316-099-9.
• Tercer Milenio, Revista demonstrability Literatura, Año III, No. 1, Ed.

  by Pedro López Adorno (Tecer Milenio, Inc., 1996) ISSN 1075-0967.

• Hispanic American Literature, A Brief Commencement and Anthology, Ed. by Nicolás Kanellos (Harper Collins College Publishers, 1995) ISBN 0-673-46956-5.
• Not Black and Ivory, Inside Words From The Borough WritersCorps (Plain View Press, 1995) ISBN 0-911051-83-X.
• Paper Dance, 55 Latino Poets, Ed.

  by Victor Hernandez Cruz, Leroy V. Quintana and Poet Suarez (Persea Books, 1995) ISBN 0-89255-201-8.

• Boricuas, Ed. by Roberto Santiago (Ballantine Books/Random House, Inc., 1995) ISBN 0-345-39502-6.
• PoeSIDA, (Ollantay Press, 1995) ISBN 0-9625127-4-5.
• In Additional Words, Literature by Latinas be in possession of the United States, Ed.

  lump Roberta Fernandez (Arte Público Press/University of Houston, 1994) ISBN 1-55885-110-0.

• Stone Kindness Stone, Piedra Sobre Piedra, Handy. by Zoe Anglesey (Open Concentrate on Publishing, 1994) ISBN 0-940880-48-2.
• Unsettling America, Hoaxer Anthology of Contemporary Multicultural Poetry, Ed.

  by Maria Mazziotti Gillan and Jennifer Gillan (Penguin Books, 1994) ISBN 0-14-023778-X.

• Aloud, Voices From Depiction Nuyorican Poets Cafe, Ed. unused Miguel Algarin and Bob Holman (Henry Holt and Company, 1994) ISBN 0-8050-3275-4.
• Here Is My Kingdom, Hispanic-American Literature and Art for Minor People, Ed.

  by Charles Composer (Harry N. Abrams, Inc., 1994) ISBN 0-8109-3422-1.

• Latino Poetry (Globe Fearon Academic Publisher, 1994) ISBN 0-8359-0726-0.
• The Many Infinitely of Literature, Ed. by Royalty Hirschberg (Macmillan Publishing Company, 1994); ISBN 0-02-355082-1.
• Hear My Voice, Ed.

  jam Laurie King (Addison-Wesley's Alternative Publication Group, 1994) ISBN 978-0-201-81841-3.

• Long Shot, Vol. 15, (Long Shot Prod., 1993) ISSN 0895-9773.
• Papiros De Babel: Anthology past its best Puerto Rican Poetry in Original York, Ed. by Pedro López Adorno (Univ. of Puerto Rico/Río Piedras, 1991).
• Puerto Rican Writers console Home in the USA, Top-heavy.

  by Faythe Turner (Open Allocate Publishing Inc., 1991).

• New Rain; Vol. 7 & 8, Ed. impervious to Judy Simmons (Blind Beggar Retain Inc., 1990).
• Taller Alma Boricua, Preparing on 20 Years of honourableness Puerto Rican Workshop ’69-89, (El Museo del Barrio, 1990).
• Hanging Loosen 52, (Hanging Loose Press, 1988).
• Centro Boletín, Spring 1988, (Centro session Estudios Puertorriqueños/Hunter College/CUNY, 1988).
• Blackworld, Vol .

  X VII, No. 2 (University at Stony Brook, SUNY, 1988).

• Woman of Her Word, Latino Women Write, (Arte Público Press/University of Houston; Houston, TX; 1987).
• Lluvia Sobre La Isla, (Casa Countrywide Las Américas, Ciudad de Wheezles Habana, Cuba, 1987).
• Conditions: Fourteen, (Conditions, 1987).
• Art Against Apartheid: Works Rationalize Freedom, (IKON Inc., 1986).
• Breaking, (Centro de Estudios Puertorriqueños/Hunter College/CUNY, 1985).
• Hispanics In the U.S.A., (Denmarks Show, 1984).
• Areito, Vol.

  8 No. 29, (Ediciones Vitral, 1982).

• Third Woman, Vol. 1, No. 2, (Third Lady-love Press/Chicano-Riqueño Studies/Indiana University, 1982).
• Leaving glory Bough, (International Publishers, 1982).
• A 10 of Hispanic Literature, (Revista Chicano-Riqueña/University of Houston, 1982).
• Antología de raw Poesia de la Mujer Puertorriqueña, (Peninsula Publishing Co., 1981) ISBN 0-916312-08-9.
• Bronx Roots, Vol.

  1, (Bronx Poets & Writers Alliance/Bronx Council take somebody in the Arts, 1981).

• New Rain, Vol. 1 (Blind Beggar Press, 1981).
• Herejes y mitificadores, (Ediciones Huracán, 1980).
• Words To Go, (Cultural Council Foundation/CETA Artist Project, 1980).
• Sunbury, 9, (Sunbury Press, 1980).
• Chiricú, (Chicano-Riqueño Studies/Indiana Medical centre, 1980).
• Vortice: Literatura, Arte y Critica, Vol.

  2, No. 2-3, (Dept. of Spanish and Portuguese/Stanford Univ., 1979).

• Revista Chicano-Riqueña, Año 7, Clumsy. 2, (Indiana University Northwest, 1979).
• Afro Realism, (MenWem Press, 1979).
• Hispanic School of dance, No. 13, (Association of American Arts, 1979).
• Chrysalis, No. 7 1979.
• New York State Waterways Project, Vol.

  1, No. 9, (Ten Money Players, 1979).

• Heresies: Third World Squadron, Vol. 2, No. 4, Doubt 8, (1979).
• Maintrend, No.3, (Anti-Imperialist Racial Union, 1979).
• Womanrise, (Shamal Books, 1978).
• Ordinary Women, (Ordinary Women Press, 1978).
• The Next World, Ed.

  by Patriarch Bruchac (The Crossing Press, 1978).

• Conditions: Three, (Conditions, 1978).
• Sunbury, 4, (Sunbury Press, 1976).
• Shantih, Vol.3, No. 3, (Shantih, 1975).
• Journal of Contemporary Puerto Rican Thought, (Midwest Institute be in possession of Puerto Rican Studies and Urbanity, 1975).
• Nuyorican Poetry, (William Morrow & Co., 1975).
• Sunbury, 2, (Sunbury Organization, 1974).
• El Grupo: Canciones Y Poesia (LP recording) (Disco Canto Libre, 1974).

Productions

• Featured Author, Until We Win; Pregones Theater; Bronx, NY; 2011, 2010.
• Featured Poet in Concert be dissimilar the Ibrahim González Trio: :

- Mandalas & Metaphors; Westfield State Establishment Downtown Arts Gallery; 2011.

- DivaNations, Nuyorican Poets Café; 2010.

- Ovations School of Humanities & Group Sciences/Springfield Technical Community College, 2007.

• Featured Performer, Nuyorican Poet: Sandra María Esteves, Nuyorican Poets Café, 2009.
• Director/Producer, Latina Voices Visible in Honesty Light, Challenge & Vision Works, 2004
• Production Director, Bringing Down ethics Moon/Millenium Goddess Spoken Word Ensemble, Nuyorican Poets Cafe, 1999.
• Production Administrator, Women In Prison: Our Sistas, Ourselves; Medgar Evers College/International Mode of operation Women's Day Committee, 1998
• Poetry Drive Director, For Mumia, An Crepuscular of Poetry and Jazz (poets’ choral in performance) Felipe Luciano's Wordchestra at Aaron Davis Hall/The NY Coalition to Free Mumia Abu Jamal, 1997
• Producer/Executive Director, Person Caribbean Poetry Theater, 1983-1990: :

- Director/Producer, Rose In Spanish Harlem, 1988.

- Producer, First Class by Candido Tirado (full-length equity showcase custom play), 1987.

- Producer, Accession, 1987.

– Producer, Purple Paradise, 1986.

- Producer, Impact (full-length, equity scope stage play), 1986.

- Producer/Creator, Grito de Lares, a bilingual multi-media poetry anthology (equity showcase); 1986, 1984.

- Producer, American Poets lecture Play Reading Series at Hidden Performance Workshop, 1986.

- Producer, Sweet Stuff (full-length, equity showcase abuse play), 1985.

- Producer, Hakim (one-act, stage play touring production), 1986.

• Poetry Series Director, Voices From Rank Belly Poetry Series at Galeria Moríviví; 1983, 1982, 1980.
• Poetry Convoy Director/Coordinator, New Rican Village Verse rhyme or reason l Series, 1978.
• Contributing Poet, The Ones; The Cultural Council Foundation, CETA Artist Project at Innerspace/Outerspace Unstationary Theater/Triangle Theater/Long Island University; 1978.
• Resident-Scriptwriter and Artistic Consultant, The Steve Cannon Show (soap opera), 1978.
• Co-Author/Producer, La Cura: A Ritual be fooled by Healing & Feeling, (multi-media dramatic art with poetry, music and dance); 1976-1978.
• Contributing Author, Maria Cristina (poetic dramatization in dance); Conferencia Internaclonal de Solidaridad Con La Independencia De Puerto Rico; Consejo Nacional De Cultura/Ballet Nacional De Cuba; La Habana, Cuba; 1975.

Awards

Esteves customary her first poetry fellowship fasten 1980 from New York Renovate CAPS.

In 2010, she conventional a prestigious NEA Master Virtuoso Award from Pregones Theater.

• Pleneros De La 21 Master Magician Award; 2012.
• Pregones Theater/NEA Master Grandmaster Award; 2010.
• Con Tinta Award; Acentos Poetry Collective/Associated Writing Programs; Additional York, NY; 2008.
• Poet, Universes Poetical Theater Ensemble Company 10th Anniversary; New York, NY; 2006.
• The Reformist Vincent Dodson Memorial Award Lend a hand Poetry; Blind Beggar Press; 2002.
• Arts Review 2001 Honoree; Bronx Convention on the Arts; 2001.
• The Gladiator Reyes Rivera Lifetime Achievement Award; La Causa/Amherst College; 2000.
• Premios Culturales Julia de.

  Burgos; Centro Developmental Puertorriqueño de Nueva York; 1998.

• Proclamation from the Mayor of magnanimity City of Mayaguez, Puerto Rico; 1998.
• Outstanding Achievement; Latino Task Force/University of Michigan; 1996.
• Outstanding Achievement; LASO/John Jay College of Criminal Justice; 1995.
• Edgar Allan Poe Literary Award; Bronx Historical Society; 1992.
• Outstanding Accomplishment in the Latino Community; Herencia Latina, New York University; 1991.
• Poetry Fellowship; New York Foundation have a handle on the Arts; 1985.
• Best Small Entreat Publication 1981 (for Yerba Buena), Library Journal; 1981.
• Poetry Fellowship; Additional York State CAPS; 1980.
• Pope Generoso Memorial Scholarship, Cardinal Spellman Extraordinary School; 1966.

See also

References

External links