'Ribbonvase' by Jim Davis-Rosenthal
Ribbonvase, by Jim Davis-Rosenthal, 1999.




About Our Name

Mission Statement

Journal History

Copyrights and Acknowledgements



Canéla Analucinda Jaramillo, Editor-in-Chief and Designer

Jim Davis-Rosenthal, Graphics Diva


Staff Members and Invincible Volunteers

Emmanuela Copal de León

Lenni J. Calipo

Wade Eastman

Joshua R. Wiles

Jim Lawrence

Paloma Sierra Calipo Jaramillo



We think Marlon Riggs said it best, in his introduction to the first online edition of this journal:

It's no longer enough, if it ever was, to critique interlocking systems of oppression without offering affirming alternatives of how society should and can reconstitute itself. As we move into the inevitably more demanding multilingual, multicultural environment — both nationally and globally — of the next century, our greatest task will be an inversion of the commonly assumed equivalence between difference and disunity. We must re-write this equation, demonstrating again and again that unity does not require unanimity, that unity — that is, a sense of social cohesion, of community — can and does derive from the expression, comprehension, and active nurturing (and not merely tolerance or fetishization) of difference.

This is the new standard of civilized life that now demands our urgent labor, a new world order, if you will, that subverts traditional conceptions of social order: a standard which in effect subverts the meaning of the word "standard" itself. For the new order must be comprised of multiple standards: shifting, open-ended, dynamically transforming, so as to engender ways of thinking and living that privilege no one set of cultural differences over another, but affirm virtue in all.

This perspective forms the key inspiration and overarching theme in STANDARDS. Page after page eloquently testifies to the commitment of a new generation of America's best and brightest to shaping a radically redefined vision of our future, where old repressive dualisms of race, class, sexuality, gender and nationality no longer reign — a future in which not merely some but all of us are free to explore and express our richest humanity.

—Marlon Riggs, 1995



One of the most frustrating things about the term "multicultural" — and possibly one of the best — is that is has been widely and vaguely interpreted. As we wait for the term "minority" to outlive its usefulness, and as we debate the intent and impact of "affirmative action" and "equal opportunity," we have begun to discover the need to address further complexities of the study and practice of "multiculturalism." Within the pages of this journal, "culture" has been broadly defined, to include not only racial and ethnic heritages, but gender, sexuality, economic class, access to education, religious affiliation, political network, physical ability, and the contemporary cross-cultural issues of survival/recovery from addiction or abuse. We recognize that "multicultural" indicates the interplay between the composite elements of individual communities, and the cultures they create. And we acknowledge that this is, at best, a working definition.

We are proud to present the works of a few of those authors whose names have long been on the frontlines of cross-cultural activism. It brings us equal pleasure to introduce the works of new writers and artists, first published in STANDARDS. Some of our contributors are young enough to have recently experienced a first exposure to U.S. military conflict. Most are veterans of the daily battles to bridge identity, community, tradition, and the efforts toward education within the academy. All are aware that these battles are part of the larger, daily struggles within the various communities represented here. And all have chosen creative expression as a way of bearing witness, marking time or place, and moving on.

It is our aim to engage visual artists, writers, and thinkers around the world in an active dialogue on the appearance and effectiveness of cultural and postcolonial studies. By creating a forum that raises controversial issues, we hope to begin to define our places in the academies, the nations, and the communities in which we live. Work from these diverse arenas has begun to find a place in the serious study of art, literature and scholarship. We are committed to being a part of that process. STANDARDS is an expression of that commitment.



STANDARDS began as a print publication at the University of Colorado at Boulder, and later was published as a collaborative effort between CU Boulder and Stanford University. In 1995, we went online, as the first international journal for multicultural studies on the world wide web. While we no longer publish a print version of STANDARDS, all back issues are held in archive on this web site.

We are currently sponsored by the Office of Diversity and Equity, in Academic Affairs, at the University of Colorado at Boulder. We thank the CU Boulder campus administration for their continued support.

STANDARDS is a not-for-profit cyberjournal which is free to the public, and shall always remain so. There are no subscriptions for the journal, nor any members areas.



Notice and Terms of Use: This site contains copyrighted materials, including but not limited to all portions of texts, photos and graphics. It is therefore illegal to use, copy, publish, upload, download, post to a bulletin board or otherwise transmit, distribute, or modify any contents of this site in any way, with the single exception of downloading one copy of these contents to any single computer, if for an individual's personal non-commercial use,and with the provision that no contents are altered and that there shall be no removal of any copyright, author/artist attribution, or other proprietary notices.

Each work published in STANDARDS is copyrighted to the individual contributor, as well as to the STANDARDS Editorial Collective. Works reprinted in STANDARDS are shown with the original publication information. It is illegal to use, copy, publish, modify, or distribute any work, including reprints, from this site, without express written permission from STANDARDS.

Every issue of STANDARDS includes publication information for all reprinted works. For this issue, we gratefully acknowledge the following individuals and groups for permissions to use materials in this volume:

Samantha Coerbell; Naomi Horii, Publisher, Many Mountains Moving, and the individual authors listed in the Many Mountains Moving Tribute in the issue; Patricia Villalobos Echeverría; the Editors of Cultronix.



All contents © 1999 by The Standards Editorial Collective
and The Individual Contributors.





Original Graphic Image, "Ribbonvase" © 1999 by Jim Davis-Rosenthal

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