Chicano or Chicana is an ethnic identity for Mexican Americans who reject any colonial ancestral roots to embrace solely 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.
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.
Chicano studies, also known as Chicano/a studies, Chican@ studies, or Xicano studies originates from the Chicano Movement of the late 1960s and 1970s, and is the study of the Chicano and Latino experience. Chicano studies draws upon a variety of fields, including history, sociology, the arts, and Chicano literature. The area of studies additionally emphasizes the importance of Chicano educational materials taught by Chicano educators for Chicano 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, an approach to the history of the Southwestern United States with an 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 other newspapers. Acuña is an activist, and he has supported numerous causes of the Chicano Movement. He currently teaches an online history course at California State University, Northridge.
Mexican American literature is literature written by Mexican Americans in the United States. Although its origins can be traced back to the sixteenth century, the bulk of Mexican American literature dates from post-1848 and the United States annexation of large parts of Mexico in the wake of the Mexican–American War. Today, as a part of American literature in general, this genre includes a vibrant and diverse set of narratives, prompting critics to describe it as providing "a new awareness of the historical and cultural independence of both northern and southern American hemispheres". Chicano literature is an aspect of Mexican American literature.
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.
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.
Patricia Zavella is an anthropologist and professor at the University of California, Santa Cruz in the Latin American and Latino Studies department. She has spent a career advancing Latina and Chicana feminism through her scholarship, teaching, and activism. She was president of the Association of Latina and Latino Anthropologists and has served on the executive board of the American Anthropological Association. In 2016, Zavella received the American Anthropological Association's award from the Committee on Gender Equity in Anthropology to recognize her career studying gender discrimination. The awards committee said Zavella's career accomplishments advancing the status of women, and especially Latina and Chicana women have been exceptional. She has made critical contributions to understanding how gender, race, nation, and class intersect in specific contexts through her scholarship, teaching, advocacy, and mentorship. Zavella's research focuses on migration, gender and health in Latina/o communities, Latino families in transition, feminist studies, and ethnographic research methods. She has worked on many collaborative projects, including an ongoing partnership with Xóchitl Castañeda where she wrote four articles some were in English and others in Spanish. The Society for the Anthropology of North America awarded Zavella the Distinguished Career Achievement in the Critical Study of North America Award in the year 2010. She has published many books including, most recently, I'm Neither Here Nor There, Mexicans' Quotidian Struggles with Migration and Poverty, which focuses on working class Mexican Americans struggle for agency and identity in Santa Cruz County.
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'. 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.
Martha Menchaca is an academic in the fields of social anthropology, ethnicity, gender, oral history, legal anthropology, immigration, and Chicana/o Studies on the relationship between U.S. and Mexican culture. Menchaca is recognized for her research on immigration, naturalization, and birthright citizenship. She is currently a professor at the University of Texas, Austin in the Department of Anthropology.
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.
Becoming Mexican American: Ethnicity, Culture, and Identity in Chicano Los Angeles, 1900–1945, written by George J. Sánchez and published in 1993 by Oxford University Press, explores the experiences of Mexican Americans in Los Angeles during the early 20th century. Sánchez provides a detailed look at Mexican Americans' lives, examining how they navigated living in a new country, including discrimination, poverty, and cultural displacement, and how they created a distinct Mexican American identity.
The Queer Chicano art scene emerged from Los Angeles during the late 1960s and early 1990s composing of queer Mexican American artists. The scene’s activity included motives and themes relating to political activism, social justice, and identity. The movement was influenced by the respective movements of gay liberation, Chicano civil rights, and women’s liberation. The social and political conditions impacting Chicano communities as well as queer people, including the HIV/AIDS epidemic, are conveyed in the scene’s expressive work.
