| Part of a series on |
| Hispanic and Latino Americans |
|---|
This is an alphabetical index of topics related to Hispanic and Latino Americans .
Contents
 |
| Part of a series on |
| Hispanic and Latino Americans |
|---|
This is an alphabetical index of topics related to Hispanic and Latino Americans .
|
Chicano or Chicana is a chosen identity for many Mexican Americans in the United States. The label Chicano is sometimes used interchangeably with Mexican American, although the terms have different meanings. While Mexican-American identity emerged to encourage assimilation into White American society and separate the community from African-American political struggle, Chicano identity emerged among anti-assimilationist youth, some of whom belonged to the Pachuco subculture, who claimed the term. Chicano was widely reclaimed in the 1960s and 1970s to express political empowerment, ethnic solidarity, and pride in being of Indigenous descent, diverging from the more assimilationist Mexican American identity. Chicano Movement leaders collaborated with Black Power movement. Chicano youth in barrios rejected cultural assimilation into whiteness and embraced their identity and worldview as a form of empowerment and resistance.
Aztlán is the ancestral home of the Aztec peoples. Astekah is the Nahuatl word for "people from Aztlan". Aztlan is mentioned in several ethnohistorical sources dating from the colonial period, and while they each cite varying lists of the different tribal groups who participated in the migration from Aztlan to central Mexico, the Mexica who went on to found Mexico-Tenochtitlan are mentioned in all of the accounts.
M.E.Ch.A. is a US-based organization that seeks to promote Chicano unity and empowerment through political action. The acronym of the organization's name is the Chicano word mecha, which is the Chicano pronunciation of the English word match and therefore symbolic of a fire or spark; mecha in Spanish means fuse or wick. The motto of MEChA is 'La Union Hace La Fuerza'.
Pachucos are male members of a counterculture associated with zoot suit fashion, jazz and swing music, a distinct dialect known as caló, and self-empowerment in rejecting assimilation into Anglo-American society that emerged in El Paso, Texas in the late 1930s. The pachuco counterculture flourished among Chicano boys and men in the 1940s as a symbol of rebellion, especially in Los Angeles. It spread to women who became known as pachucas and were perceived as unruly, masculine, and un-American. Some pachucos adopted strong attitudes of social defiance, engaging in behavior seen as deviant by white/Anglo-American society, such as marijuana smoking, gang activity, and a turbulent night life. Although concentrated among a relatively small group of Mexican Americans, the pachuco counterculture became iconic among Chicanos and a predecessor for the cholo subculture which emerged among Chicano youth in the 1980s.
El Plan de Santa Bárbara: A Chicano Plan for Higher Education is a 155-page document, which was written in 1969 by the Chicano Coordinating Council on Higher Education. Drafted at the University of California Santa Barbara, it is a blueprint for the inception of Chicana/o studies programs in colleges and universities throughout the US. The Chicano Coordinating Council expresses political mobilization to be dependent upon political consciousness, thus the institution of education is targeted as the platform to raise political conscious amongst Chicanos and spur higher learning to political action. The Plan proposes a curriculum in Chicano studies, the role of community control in Chicano education and the necessity of Chicano political independence. The document was a framework for educational and curriculum goals for the Chicano movements within the institution of education, while being the foundation for the Chicano student group Movimiento Estudiantil Chicano de Aztlán (MEChA).
The Plan Espiritual de Aztlán was a pro-indigenist manifesto advocating Chicano nationalism and self-determination for Mexican Americans. It was adopted by the First National Chicano Liberation Youth Conference, a March 1969 convention hosted by Rodolfo Gonzales's Crusade for Justice in Denver, Colorado.
The Royal Chicano Air Force (RCAF) is a Sacramento, California-based art collective, founded in 1970 by Ricardo Favela, José Montoya and Esteban Villa. It was one of the "most important collective artist groups" in the Chicano art movement in California during the 1970s and the 1980s and continues to be influential into the 21st century.
Chicano Park is a 32,000 square meter park located beneath the San Diego-Coronado Bridge in Barrio Logan, a predominantly Chicano or Mexican American and Mexican-migrant community in central San Diego, California. The park is home to the country's largest collection of outdoor murals, as well as various sculptures, earthworks, and an architectural piece dedicated to the cultural heritage of the community. Because of the magnitude and historical significance of the murals, the park was designated an official historic site by the San Diego Historical Site Board in 1980, and its murals were officially recognized as public art by the San Diego Public Advisory Board in 1987. The park was listed on the National Register of Historic Places in 2013 owing to its association with the Chicano Movement, and was designated a National Historic Landmark in 2016. Chicano Park, like Berkeley's People's Park, was the result of a militant people's land takeover. Every year on April 22, the community celebrates the anniversary of the park's takeover with a celebration called Chicano Park Day.
The Chicano Movement, also referred to as El Movimiento, was a social and political movement in the United States inspired by prior acts of resistance among people of Mexican descent, especially of Pachucos in the 1940s and 1950s, and the Black Power movement, that worked to embrace a Chicano/a identity and worldview that combated structural racism, encouraged cultural revitalization, and achieved community empowerment by rejecting assimilation. Before this, Chicano/a had been a term of derision, adopted by some Pachucos as an expression of defiance to Anglo-American society. With the rise of Chicanismo, Chicano/a became a reclaimed term in the 1960s and 1970s, used to express political autonomy, ethnic and cultural solidarity, and pride in being of Indigenous descent, diverging from the assimilationist Mexican-American identity. Chicanos also expressed solidarity and defined their culture through the development of Chicano art during El Movimiento, and stood firm in preserving their religion.
El Teatro Campesino is a Chicano theatre company in California. Performing in both English and Spanish, El Teatro Campesino was founded in 1965 as the cultural arm of the United Farm Workers and the Chicano Movement with the "full support of César Chávez." Originally based in Delano, California, during the Delano Strike, the theatre is currently based in San Juan Bautista, California.
The Centro Cultural de la Raza is a non-profit organization with the specific mission to create, preserve, promote and educate about Chicano, Mexicano, Native American and Latino art and culture. It is located in Balboa Park in San Diego, California.The cultural center supports and encourages the creative expression “of the indigenous cultures of the Americas.” It is currently a member of the American Alliance of Museums.
Chicano nationalism is the pro-indigenist ethnic nationalist ideology of Chicanos. While there were nationalistic aspects of the Chicano Movement of the 1960s and 1970s, the movement tended to emphasize civil rights and political and social inclusion rather than nationalism. For this reason, Chicano nationalism is better described as an ideology than as a political movement.
Chicano poetry is a branch of American literature written by and primarily about Mexican Americans and the Mexican-American way of life in society. The term "Chicano" is a political and cultural term of identity specifically identifying people of Mexican descent who are born in the United States. In the same way that American poetry comprises the writing of the offspring of English and other European colonists to North America, so Chicano poetry and literature comprises the writing of the offspring of Latinos who either emigrated to the United States or were involuntarily included in the country due to the Mexican–American War of 1848.
Robert Isaac "Beto" de la Rocha is an American painter, graphic artist, and muralist. He was part of the Chicano art collective Los Four for a few years. De la Rocha was also influential in re-establishing the traditional Mexican celebration of the Day of the Dead in Los Angeles. He is the father of Rage Against the Machine vocalist and lyricist Zack de la Rocha.
Salvador Roberto Torres is a Chicano artist and muralist and an early exponent of the Chicano art movement. He was one of the creators of Chicano Park, and led the movement to create its freeway-pillar murals. He was also a founder of the Centro Cultural de la Raza in San Diego, California.
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.
Willie Herrón III is an American Chicano muralist, performance artist and commercial artist.
Victor Ochoa is an activist, painter, graphic designer and master muralist. He has painted over 100 murals, many of them in San Diego, California. He is considered one of the pioneers of San Diego's Chicano art movement. Ochoa was one of the original activists at Chicano Park and a co-founder of Centro Cultural de la Raza in Balboa Park, both in San Diego. He helped establish the influential Border Art Workshop/Taller de Arte Fronteriza (BAW/TAF). Ochoa is also a teacher of art and Chicano heritage. His work has been shown nationally and internationally, including at the Venice Bi-Annual, at the Museum of Contemporary Art, San Diego and in the groundbreaking exhibition, Chicano Art: Resistance and Affirmation (CARA). In addition to creating his own work, he is also a master of art preservation techniques, especially relating to murals. He is considered to be a "serious cultural resource in the border region.
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.
A Mexican American is a resident of the United States who is of Mexican descent. Mexican American-related topics include the following: