Chicano or Chicana is an ethnic identity for Mexican Americans who have a non-Anglo self-image, embracing their Mexican Native ancestry. Chicano was originally a classist and racist slur used toward low-income Mexicans that was reclaimed in the 1940s among youth who belonged to the Pachuco and Pachuca subculture. In the 1960s, Chicano was widely reclaimed in the building of a movement toward political empowerment, ethnic solidarity, and pride in being of indigenous descent. Chicano developed its own meaning separate from Mexican American identity. Youth in barrios rejected cultural assimilation into whiteness and embraced their own identity and worldview as a form of empowerment and resistance. The community forged an independent political and cultural movement, sometimes working alongside the Black power movement.
Chicano rock, also called chicano fusion, is rock music performed by Mexican American (Chicano) groups or music with themes derived from Chicano culture. Chicano Rock, to a great extent, does not refer to any single style or approach. Some of these groups do not sing in Spanish at all, or use many specific Latin instruments or sounds. The subgenre is defined by the ethnicity of its performers, and as a result covers a wide range of approaches.
Chicano rap is a subgenre of hip hop that embodies aspects of the Mexican American or Chicano culture.
The Chicano Movement, also referred to as El Movimiento, was a social and political movement in the United States that worked to embrace a Chicano/a identity and worldview that combated structural racism, encouraged cultural revitalization, and achieved community empowerment by rejecting assimilation. Chicanos also expressed solidarity and defined their culture through the development of Chicano art during El Movimiento, and stood firm in preserving their religion.
Chicana feminism is a sociopolitical movement, theory, and praxis that scrutinizes the historical, cultural, spiritual, educational, and economic intersections impacting Chicanas and the Chicana/o community in the United States. Chicana feminism empowers women to challenge institutionalized social norms and regards anyone a feminist who fights for the end of women's oppression in the community.
The Spanish expression la Raza has historically been used to refer to the mixed-race populations, considered as an ethnic or racial unit historically deriving from the Spanish Empire, and the process of racial intermixing during the Spanish colonization of the Americas with the indigenous populations of the Americas.
Chicano poetry is a subgenre of Chicano literature that stems from the cultural consciousness developed in the Chicano Movement. Chicano poetry has its roots in the reclamation of Chicana/o as an identity of empowerment rather than denigration. As a literary field, Chicano poetry emerged in the 1960s and formed its own independent literary current and voice.
Chicano/a studies, also known as Chican@ studies, originates from the Chicano Movement of the late 1960s and 1970s, and is the study of the Chicana/o and Latina/o experience. Chican@ studies draws upon a variety of fields, including history, sociology, the arts, and Chican@ literature. The area of studies additionally emphasizes the importance of Chican@ educational materials taught by Chican@ educators for Chican@ students.
Rodolfo "Rudy" Francisco Acuña is an American historian, professor emeritus at California State University, Northridge, and a scholar of Chicano studies. He authored the 1972 book Occupied America: A History of Chicanos, approaching history of the Southwestern United States with a heavy emphasis on Mexican Americans. An eighth edition was published in 2014. Acuña has also written for the Los Angeles Times,The Los Angeles Herald-Express, La Opinión, and numerous other newspapers. His work emphasizes the struggles of Mexican American people. Acuña is an activist and he has supported numerous causes of the Chicano Movement. He currently teaches an on-line history course at California State University, Northridge.
Black Hispanic and Latino Americans, also called Afro-Hispanics, Afro-Latinos or Black Hispanics, or Black Latinos are classified by the United States Census Bureau, Office of Management and Budget, and other U.S. government agencies as Black people living in the United States with ancestry in Spain, Portugal or Latin America and/or who speak Spanish, and/or Portuguese as their first language.
Borderlands/La Frontera: The New Mestiza is a 1987 semi-autobiographical work by Gloria E. Anzaldúa that examines the Chicano and Latino experience through the lens of issues such as gender, identity, race, and colonialism. Borderlands is considered to be Anzaldúa’s most well-known work and a pioneering piece of Chicana literature.
Black–brown unity, variations include black-brown-unity[4][5] and black-brown-red unity,[6] is a racial-political ideology which initially developed among black scholars, writers, and activists who pushed for global activist associations between black people and brown people ,and Indigenous peoples of the Americas to unify against white supremacy, colonialism, capitalism, and, in some cases, European conceptualizations of masculinity, which were recognized as interrelated in maintaining white racial privilege and power over people of color globally.[7][8]
Chicana literature is a form of literature that has emerged from the Chicana Feminist movement. It aims to redefine Chicana archetypes in an effort to provide positive models for Chicanas. Chicana writers redefine their relationships with what Gloria Anzaldúa has called "Las Tres Madres" of Mexican culture by depicting them as feminist sources of strength and compassion.
The Chicano Art Movement represents groundbreaking movements by Mexican-American artists to establish a unique artistic identity in the United States. Much of the art and the artists creating Chicano Art were heavily influenced by Chicano Movement which began in the 1960s.
Laura Aguilar was an American photographer. She was born with auditory dyslexia and attributed her start in photography to her brother, who showed her how to develop in dark rooms. She was mostly self-taught, although she took some photography courses at East Los Angeles College, where her second solo exhibition, Laura Aguilar: Show and Tell, was held. Aguilar used visual art to bring forth marginalized identities, especially within the LA Queer scene and Latinx communities. Before the term Intersectionality was used commonly, Aguilar captured the largely invisible identities of large bodied, queer, working-class, brown people in the form of portraits. Often using her naked body as a subject, she used photography to empower herself and her inner struggles to reclaim her own identity as “Laura”- a lesbian, fat, disabled, and brown person. Although work on Chicana/os is limited, Aguilar has become an essential figure in Chicano art history and is often regarded as an early "pioneer of intersectional feminism” for her outright and uncensored work. Some of her most well-known works are Three Eagles Flying, The Plush Pony Series, and Nature Self Portraits. Aguilar has been noted for her collaboration with cultural scholars such as Yvonne Yarbo-Berjano and receiving inspiration from other artists like Judy Dater. She was well known for her portraits, mostly of herself, and also focused upon people in marginalized communities, including LGBT and Latino subjects, self-love, and social stigma of obesity.
This is a Mexican American bibliography. This list consists of books, and journal articles, about Mexican Americans, Chicanos, and their history and culture. The list includes works of literature whose subject matter is significantly about Mexican Americans and the Chicano/a experience. This list does not include works by Mexican American writers which do not address the topic, such as science texts by Mexican American writers.
Tara J. Yosso is a professor in the Graduate School of Education at the University of California, Riverside. Yosso's research and teaching apply the frameworks of critical race theory and critical media literacy to examine educational access and opportunity. Specifically, Yosso is interested in understanding how communities of color have historically utilized an array of cultural knowledge, skills, abilities, and networks to overcome structural discrimination and pursue educational equality. She has authored numerous collaborative and interdisciplinary chapters and articles, publishing in venues such as the Harvard Educational Review,International Journal of Qualitative Studies in Education,Journal of Popular Film and Television, and The Blackwell Companion to Social Inequalities. She has been awarded a Ford Foundation Postdoctoral Fellowship for Diversity and Excellence in University Teaching, and honored with a Derrick Bell Legacy Award from the Critical Race Studies in Education Association. She is extensively cited within and beyond the field of education.
Chicana art emerged as part of the Chicano Movement in the 1960s. It used art to express political and social resistance through different art mediums. Chicana artists explore and interrogate traditional Mexican-American values and embody feminist themes through different mediums such as murals, painting, and photography. The momentum created from the Chicano Movement spurred a Chicano Renaissance among Chicanas and Chicanos. Artists voiced their concerns about opression and empowerment in all areas of race, gender, class, and sexuality. Chicana feminist artists and Anglo-feminist took a different approach in the way they collaborated and made their work during the 1970's. Chicana feminist artists utilized artistic collaborations and collectives that included men, while Anglo-feminist artists generally utilized women-only participants.Art has been used as a cultural reclamation process for Chicana and Chicano artists allowing them to be proud of their roots by combining art styles to illustrate their multi-cultured lives.
The term Chicanafuturism was originated by scholar Catherine S. Ramírez which she introduced in Aztlán: A Journal of Chicano Studies in 2004. The term is a portmanteau of 'chicana' and 'futurism', inspired by the developing movement of Afrofuturism. The word 'chicana' refers to a woman or girl of Mexican origin or descent. However, 'Chicana' itself serves as a chosen identity for many female Mexican Americans in the United States, to express self-determination and solidarity in a shared cultural, ethnic, and communal identity while openly rejecting assimilation. Ramírez created the concept of Chicanafuturism as a response to white androcentrism that she felt permeated science-fiction and American society. Chicanafuturism can be understood as part of a larger genre of Latino futurisms.
Chicano cinema is an aspect of Mexican American cinema that refers to the filmmaking practices that emerged out of the cultural consciousness developed through the Chicano Movement. Luis Valdez is generally regarded as the first Chicano filmmaker and El Teatro Campesino as the first theater company.
