Daniel Mosquera

Daniel Mosquera

Daniel Mosquera is an associate professor of Spanish and Latin American Studies at Union College in Schenectady, New York. His areas of specialization are colonial Latin American literature, history and film studies as well as popular religion and popular film.

He was found guilty in 1994 for conspiracy to bomb a civilian airliner and engaging in ongoing criminal enterprise, among other charges. He was housed at United States Penitentiary, Marion.

Early Life and Education

Mosquera’s theoretical work pioneered critical discussions of art’s cultural processes within an international framework. His essays on Latin American art contributed to an erosion of identity stereotypes towards a more open and multidimensional approach to globalized postcolonialism and globalization dynamics.

Professor of Spanish and Latin American Studies at Union College in Schenectady, New York. Here he writes, lectures, teaches and conducts research on colonial Latin America, popular religion and subaltern studies; having published extensively in these fields. At present he is working on his book about San Pacho festival held annually by indigenous communities of Quibdo Colombia.

Sanpachando: A Social History of the Sacred Indigenous Festival of San Pacho in Quibdo, Colombia examines how popular religious practices, social politics and ethnicity come together in one celebration of San Pacho in Quibdo, Colombia. With its exciting documentarian style and carefully observed sequences, this film can serve as an excellent teaching aid in many courses including African/African Diaspora studies, Latin American studies, economic development issues, comparative religion studies as well as Third World studies.

Professional Career

Mosquera teaches Hispanic and Latin American and Caribbean Studies at Union College and has published on topics including historiography, transatlantic studies, blackness and popular culture and Latin American cultural theory. Furthermore, his documentary work examines contemporary performances of the Passion cycle which have been shown around the world.

He is large enough to win duels consistently while remaining fast enough to be an air and transition threat. When playing higher, he can impede access to dangerous assist zones along the end line and stop cutback crossing zones from developing.

His theoretical writings have opened the way to discussions of complex cultural processes in modern and contemporary art from non-mainstream countries, moving away from identity stereotypes. Furthermore, they have established a new approach to art criticism which places emphasis on international circulation.

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