Part of a series on |
Chicanos and Mexican Americans |
---|
Pinto or Pinta is a member of a Chicano subculture of people who are or have been incarcerated. It is an in-group moniker used to distinguish oneself from the general prison population or from "model inmates." It is a term which embraces the oppositional elements of being a Convicto. [1] The term came from a bilingual play on the Spanish word for penitencia (penitence), since pintos and pintas are people who have spent time in penitentiaries. The term has also been traced to the Spanish word Pintao (Estar pintado--to be painted, in this case tattooed). [2]
The term is usually used for prison veterans of older age rather than for youths. Scholar Avelardo Valdez states in a study of Mexican-American prison youth, that the pinto is a prison veteran who "is seen by many as having a highly disciplined code of conduct and a philosophy of life attuned to the values of many street-oriented young men," which attracts young men to follow his leadership. Valdez states that the pinto or prison veteran has "warrior-like status within the street culture of San Antonio's barrios." [3] Language used by pintos (caló) has been described as distinct from other Chicano dialects. [2]
The low socioeconomic status of a large percentage of Chicanos in the United States and the lack of equal opportunities in education and employment introduces many Chicanos to this subculture. [4] Scholar Santiago Vidales writes that "Pinto and Pinta subculture comes out of the lived experiences of incarcerated Xicanx people." [2]
Police officers, prosecutors, prison guards, judges, in the United States criminalize, or assign criminality or deviance, to Chicano and Latino men and women based on certain appearances. Once incarcerated, other prisoners do this as well. Chicano men endure this criminalization at a heightened rate and are "the largest segment of the diverse U.S. Latino prison population conflated into the U.S. Department of Justice term 'Hispanic.'" Chicano tatuajes or body tattooing, which are distinguished by their own unique style and iconography, become a marker of Chicano criminality for the pinto subject, as argued by scholar B. V. Olguín, who embrace their oppositional status through the act rather than become "model inmates." [1]
Chicano tattooing in prison or tatuteando, reflect the colonized yet oppositional (non-assimilationist) condition of the Chicano people in the United States, argues Olguín, who are systematically criminalized, arrested, incarcerated, and then exploited for labor whether that be in the textile or agricultural industries, or for any other purpose the state deems necessary, such as "dog boys," in which the Texas Department of Corrections used "prisoners to mimic an escape in order to be hunted down by prison bloodhounds and mounted guards as a training exercise for the killer dogs and entertainment for the guards and their guests." Tatuteando are illegal in prison and are penalized by police, "as they do all forms of 'destruction of state property'," since prisoners are viewed as state property. [1]
In his own experience as a pinto, raúlrsalinas notes that people who were caught engaging in tatuteando or if they had materials necessary to tattoo on them, were given a month in solitary confinement. This risk that pintos are willing to take, especially as the tattoos they receive are permanent markers of their transgressions within prison, illustrate their defiance to the prison industrial complex. As such, scholar B. V. Olguín states that "tatuajes represent a victory, a testament to the survival of the human spirit, that begins with a crime! As such, they unmask the hegemonic and inhumane function of jurisprudence." [1] In an interview, Salinas summarizes the act:
Well clearly it's an act of defiance. First of all, it's illegal - 'How dare you break the rules!' It's made criminal. But to defy rules is to recognize that you are engaged in a psychological battle with the prison authorities, the guards. Similar to the intellectual's declaration that 'you can jail my body but you can't jail my mind,' the act of tattooing oneself, or soliciting an artist to tattoo you, is an act of defiance that declares: You can jail my body, but you can't control it; you can put me in solitary as punishment, but you can't take my tattoos away from me.' So it is an affront; it's a threat to the very notion of confinement, of detention. The designs that are created in these conditions, under insurmountable odds, threaten the whole system of incarceration because it shows ultimately that there are still ways to retain one's dignity. [1]
Paño, a form of pinto arte (a caló term for male prisoner) using pen and pencil, developed in the 1930s, first using bed sheets and pillowcases as canvases. [5] Paño has been described as rasquachismo , a Chicano worldview and artmaking method which makes the most from the least. [6] Because of the situational context in which it is created, artists on paño artists are often unknown, even though their work may be featured in museums. [7] However, as paño art has grown in popularity and has also inspired Chicano youth who have never been to prison to use the handkerchief as a canvas, "paño artists are careful to sign their pieces, whereas before they were largely anonymous." [8]
A documentary on paño art entitled Paño Arte: Images from Inside was released for PBS in 1996, featuring artist Paul Sedillo, Manuel Moya, Jerry Tapia and others. [9] Sedillo states how prison used to be a place he dreamed of going in his teenage years because he thought it would give him status, but has come to realize that this was a mistake and that it has only trapped him. Sedillo then reflects on the role being in prison has had on his art: "that's the only thing this place [prison] has done for me, is made me a better artist." [10]
The pinto subculture was covered in a 1976 issue of Chicano magazine De Colores entitled "Los Pintos de America" by Pajarito Publications. Scholar Letticia Galindo has written about the pinta subculture. [4] In a study on pinto poetry, Santiago Vidales states that "the concept of concientización, political awakening, is a key feature that emerges from the scholarship on Pinto poetry." [2] Raúl Salinas' poem "A Trip Through the Mind Jail" in May 1970 ignited a campaign from radical literary critics for his release. Salinas had once been sentenced to five years in prison for the possession of five dollars worth of marijuana. [1]
Salinas' poem "La Loma" touches on themes that challenge the neoromantic portraits of the pachuco figure as a "defiant male warrior here," instead presenting "a more problematic portrait of Pachucos imprisoned by drug addiction and held captive by a phallocentric notion of empowerment (modeled as virility) that often leads to various forms of individual and collective self-destruction, including fratricide." However, rather than being "a self-denigrating diatribe against Pachucos," Salinas constructs the barrio as "a subaltern space where the legacy of colonialism continues to manifest itself through tragic, seemingly senseless but ultimately significant episodes of internecine violence." [1]
Chicano or Chicana is an ethnic identity for Mexican Americans that emerged from the Chicano Movement. 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.
A zoot suit is a men's suit with high-waisted, wide-legged, tight-cuffed, pegged trousers, and a long coat with wide lapels and wide padded shoulders. It is most notable for its use as a cultural symbol among the Hepcat and Pachuco subcultures. Originating among African Americans it would later become popular with Mexican, Filipino, Italian, and Japanese Americans in the 1940s.
Pachucos are male members of a counterculture that emerged in El Paso, Texas, in the late 1930s. Pachucos are associated with zoot suit fashion, jump blues, jazz and swing music, a distinct dialect known as caló, and self-empowerment in rejecting assimilation into Anglo-American society. 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.
Zoot Suit is a play written by Luis Valdez, featuring incidental music by Daniel Valdez and Lalo Guerrero. Zoot Suit is based on the Sleepy Lagoon murder trial and the Zoot Suit Riots. Debuting in 1979, Zoot Suit was the first Chicano play on Broadway. In 1981, Luis Valdez also directed a filmed version of the play, combining stage and film techniques.
Jimmy Santiago Baca is an American poet, memoirist, and screenwriter from New Mexico.
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.
Pinto is a surname.
Luis Talamantez is an American writer, poet, and prisoner's rights activist. He gained widespread recognition in the 1970s as a member of the San Quentin Six, a group of men charged with inciting the riot which killed three guards and three inmates, including George Jackson. Talamantez published his poetry while incarcerated and is perhaps best known for his collection of poetry, titled Life Within the Heart Imprisoned.
Paños are pen or pencil drawings on fabric, a form of prison artwork made in the Southwest United States created primarily by pintos, or Chicanos who are or have been incarcerated.
Modesta Ávila was a Californio ranchera and protester, best known for being the first convicted felon and first state prisoner in Orange County, California. Ávila had only received a minor warning in 1889 for placing an obstruction on the tracks to protest against the Santa Fe Railroad being built through her property without adequate compensation, but she continued to taunt the authorities, and was eventually arrested four months later.
Judy A. Lucero was a Chicana prisoner poet, cited as a legend among Latina feminists. Lucero had a particularly tough life, becoming a heroin addict after being introduced to drugs at the age of eleven by one of her stepfathers, losing two children and dying in prison at the age of 28 from a brain hemorrhage.
Shizu Saldamando, is an American visual artist. Her work merges painting and collage in portraits that often deal with social constructs of identity and subcultures. Saldamando also works in video, installation and performance art. She has been featured in numerous exhibitions, has attained accolades like that of Wanlass Artist in Residence, and is a successful writer, tattoo artist, and social activist.
"I Am Offering This Poem" is a poem by Jimmy Santiago Baca, first published in Immigrants in Our Own Land (1979). It was reprinted in 1990 in the collection Immigrants in Our Own Land and Selected Early Poems. Baca’s diction and imagery convey a central theme of the work- the importance of poetry and art in general.
A cholo or chola is a member of a Chicano and Latino subculture or lifestyle associated with a particular set of dress, behavior, and worldview which originated in Los Angeles. A veterano or veterana is an older member of the same subculture. Other terms referring to male members of the subculture may include vato and vato loco. Cholo was first reclaimed by Chicano youth in the 1960s and emerged as a popular identification in the late 1970s. The subculture has historical roots in the Pachuco subculture, but today is largely equated with antisocial or criminal behavior such as gang activity.
A Mexican American is a resident of the United States who is of Mexican descent. Mexican American-related topics include the following:
Gringo justice is a sociohistorical critical theory developed by Chicano sociologist, lawyer, and activist Alfredo Mirandé in 1987, who used it to provide an alternative explanation for Chicano criminality in the United States and challenge the racist assumption that Chicanos were inherently criminal, or biologically, psychologically, or culturally predisposed to engage in criminal behavior. The theory is applied by Chicano and Latino scholars to explain the double standard of justice in the criminal justice system between Anglo-Americans and Chicanos/Latinos. The theory also challenges stereotypes of Chicanos/Latinos as "bandidos," "gang-bangers," and "illegal alien drug smugglers," which have historically developed and are maintained to justify social control over Chicano/Latino people in the US.
Raúl R. Salinas, better known by his pen name raúlrsalinas, was an American pinto poet, memoirist, social activist, and prison journalist. Much of raúlrsalinas' writing was grounded in arguments for social justice and human rights. He was an early pioneer of Chicano pinto (prisoner) poetry and is notable for his use of vernacular, bilingual, and free verse aesthetics.
Ricardo Sánchez was a writer, poet, professor, and activist. Sometimes called the "grandfather of Chicano poetry," Sánchez gained national acclaim for his 1971 poetry collection Canto y Grito Mi Liberacion. Incarcerated in his twenties for stealing money to feed his struggling family, Sánchez read extensively and even learned Hebrew while at Soledad Prison in California. Upon his release in 1969, his poems were included in a poetry anthology. In 1971, his first solo collection of poetry was published, establishing Sánchez as one of the nation's most important Chicano poets.
Teen Angels was an independent American magazine focused on the Chicano culture of California and the southwest, published from approximately 1981 to 2006. The publication featured art, photos, and writing celebrating pachuco culture, lowriders, cholo street culture, fashion, tattoos, prison art, and varrios, or neighborhoods. The magazine consisted of photocopied photographs, hand-drawn portraits and lowrider art, typographic pages, poetry, community notices, comic strips, dedications, obituaries, articles, and other works. It was produced in self-published zine format.