Floren abad biography examples
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Meet the Santiago Faculty
Classes offered through the Santiago Program are taught by local faculty, the Center Director, and by one Stanford Faculty-in-Residence per quarter. Many local professors hold regular appointments at Chilean universities or have served in prominent positions in local governments, policy organizations, or research institutes. Courses are taught in Spanish unless otherwise noted.
Faculty in Residence
Each quarter, one Stanford professor serves as Faculty in Residence in each of the BOSP program locations. These faculty teach classes in their own disciplines, developing courses that incorporate unique features of the local culture and environment or that provide comparative perspectives on a particular topic. View a list of current and future faculty.
Local Faculty
Mabel Abad
Mabel Abad has worked in the Spanish Language and Cultural Program for Stanford in Santiago since 2002. Through her vast academic experience, she has taught diverse groups of foreign students from American and European universities at the Pontifical Catholic University of Chile, as well as other study abroad programs in Chilean universities and international institutions (Economic Commission for Latin America and the Caribbean -United Nations). She is the a
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TAKING LIBERTY
THE STATUE OF LIBERTY is the apex of national mythmaking, a bloated bronze symbol standing watch over New York Harbor, where it broadcasts a promise of generosity, hospitality, and openness to immigrants in need. Emma Lazarus exemplified this ethos in her 1883 sonnet “The New Colossus,” dubbing Lady Liberty the “Mother of Exiles.” But for many—especially immigrants of color—the experience of arriving and settling in the United States falls short of these lofty ideals, and artists have used this symbol to interrogate this projection of America as a haven for the world’s less fortunate, revealing its racialized biases.
Pacita Abad’s painting L.A. Liberty, 1992, came about after a visit to New York’s Ellis Island, where she saw that the narrative of immigration being mythologized largely celebrates the experience of white Europeans arriving in the first half of the twentieth century, excluding later immigrants of color like herself. Countering this erasure, the artist recasts Lady Liberty as—to use a particularly apt phrase coined by Faith Ringgold in a 2003 essay to describe Abad—an “international woman of color,” a simply worded description that wonderfully encapsulates many