PAINTING PUEBLO CULTURE
By Kim Suina Melwani
In the early-to-mid-20th-century, a new Pueblo painting tradition — spurred by external influences — was developing, and a few Pueblo women stood out, both for their talent and rarity.
DOROTHY B. HUGHES: A FEMINIST ICON, AN ICON FOR WRITERS
By Monika Dziamka
“When the search gets tough, and the professional identity crisis again looms nigh, I remind myself of the extraordinary career of Dorothy B. Hughes, a woman, mother, and writer who helped solidify New Mexico’s literary legacy not just in the United States, but around the world as well.”
THE BANDANA BRIGADE: WITH HEARTS AND HANDS, WOMEN DO IT TOGETHER
By Kim Suina Melwani
“Like a ‘bandana brigade’ these women seemed ready to face whatever obstacles that came their way.”
BELOVED WORD WARRIOR: THE POWER OF TONI MORRISON’S PEN
By Cathryn McGill
“In celebrating Women’s History Month, we acknowledge Toni Morrison’s indelible legacy, where her identity as a woman and an African American is inseparable from her literary genius.”
DOLORES HUERTA: A LEGACY
By Maria Vielma
“The leadership, advocacy, and action displayed by none other than Dolores Huerta are clear evidence of a woman’s natural right to lead.”
WITCH: FROM VILLAIN TO VICTORIOUS
By Keelyn Byram
“So how did the archetype of the Witch transform from being pure evil to empowering?”
HEALER OF THE UNSEEN: DR. META L. CHRISTY
By Ina Jane
“As the first Black female doctor of osteopathy, she set the standard for exemplary medical and community service.”
SUFRAGISTA Y MÁS: ADELINA “NINA” OTERO-WARREN
By Dr. Anna M. Nogar
“Nuevomexicana Adelina ‘Nina’ Otero-Warren (1881-1965) is one of the outstanding early feminist figures in United States history and an actor for representation and democracy in early 20th century New Mexico.”
IDA B. WELLS: THE POWER OF THE PEN
By Ina Jane
“Today, the legacy of her work continues as countries all over the world chant the words, ‘Black Lives Matter!’”
COMMUNITY VISIONS — CINEMATIC NARRATIVES BY WOMEN
By Ariel Dougherty
“In intervening decades too few opportunities in the U.S. have existed for women to gain support for narrative filmmaking.”