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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.
Sandra Cisneros is an American writer. She is best known for her first novel, The House on Mango Street (1983), and her subsequent short story collection, Woman Hollering Creek and Other Stories (1991). Her work experiments with literary forms that investigate emerging subject positions, which Cisneros, herself, attributes to growing up in a context of cultural hybridity and economic inequality that endowed her with unique stories to tell. She is the recipient of numerous awards, including a National Endowment for the Arts Fellowship, was awarded one of 25 new Ford Foundation Art of Change fellowships in 2017, and is regarded as a key figure in Chicano literature.
Lesbian feminism is a cultural movement and critical perspective that encourages women to focus their efforts, attentions, relationships, and activities towards their fellow women rather than men, and often advocates lesbianism as the logical result of feminism. Lesbian feminism was most influential in the 1970s and early 1980s, primarily in North America and Western Europe, but began in the late 1960s and arose out of dissatisfaction with the New Left, the Campaign for Homosexual Equality, sexism within the gay liberation movement, and homophobia within popular women's movements at the time. Many of the supporters of Lesbianism were actually women involved in gay liberation who were tired of the sexism and centering of gay men within the community and lesbian women in the mainstream women's movement who were tired of the homophobia involved in it.
John Francisco Rechy is a Mexican-American novelist and essayist. His novels are written extensively about gay culture in Los Angeles and wider America, among other subject matter. City of Night, his debut novel published in 1963, was a best seller. Drawing on his own background, he has contributed to Mexican-American literature, notably with his novel The Miraculous Day of Amalia Gomez, which has been taught in several Chicano studies courses throughout the United States. But, even after the success of his first novel, he still worked as a prostitute, teaching during the day, and hustling at night. He worked as a prostitute into his forties while also teaching at UCLA. Through the 1970's and 1980's he dealt with personal drug use, as well as the AIDS crisis, which killed many of his friends.
The House on Mango Street is a 1984 novel by Mexican-American author Sandra Cisneros. Structured as a series of vignettes, it tells the story of Esperanza Cordero, a 12-year-old Chicana girl growing up in the Hispanic quarter of Chicago. Based in part on Cisneros's own experience, the novel follows Esperanza over the span of one year in her life, as she enters adolescence and begins to face the realities of life as a young woman in a poor and patriarchal community. Elements of the Mexican-American culture and themes of social class, race, sexuality, identity, and gender are interwoven throughout the novel.
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 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.
Alicia Gaspar de Alba is an American scholar, cultural critic, novelist, and poet whose works include historical novels and scholarly studies on Chicana/o art, culture and sexuality.
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.
Martha P. Cotera is a librarian, writer, and influential activist of both the Chicano Civil Rights Movement and the Chicana Feminist movement of the 1960s and 1970s. Her two most notable works are Diosa y Hembra: The History and Heritage of Chicanas in the U.S. and The Chicana Feminist. Cotera was one of six women featured in a documentary, Las Mujeres de la Caucus Chicana, which recounts the experiences of some of the Chicana participants of the 1977 National Women's Conference in Houston, Texas.
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.
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.
Vergüenza directly translates to shame in English, refers to the cultural and social phenomena that shapes, and often constricts Chicana/o and Latina/o lives to a more conservative, traditional mold. The role of vergüenza not only helps mold lives to a traditional mold, but serves primarily to maintain traditional gender roles, and reinforcing familial relations and expectations. Chicana/o scholars were important to theorizing and documenting verguenza, which has contributed to the fields of mental health and sociology.
Emma Pérez is an American author and professor, known for her work in queer Chicana feminist studies.
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 oppression 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 1970s. 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.
Mexican-American folklore refers to the tales and history of Chicano people who live in the United States.
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.
Angélica Becerra is an activist visual artist who primarily works in watercolor and digital media.
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.
References
- 1 2 3 4 Martínez, Elena M (2005). "Taylor, Sheila Ortiz". The Oxford Encyclopedia of Latinos and Latinas in the United States. Oxford University Press. ISBN 978-0-19-515600-3.
- 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 Rojas, Maythee (17 February 2016). "Shaking Up La Familia : The Chican@ Nation and Lesbian Motherhood in Sheila Ortiz Taylor's Faultline". Women's Studies. 45 (2): 142–161. doi:10.1080/00497878.2015.1122506. S2CID 147422324.
- 1 2 3 4 5 6 7 8 9 10 Kurzen 2004, p. [ page needed ].
- 1 2 3 4 5 6 7 8 Chapman, Todd (March 2000). "Guide to the Sheila Ortiz-Taylor Papers CEMA 13".
- ↑ Burlew, Jeff (December 24, 2014). "No gay marriage licenses in Leon for now". Tallahassee Democrat . Retrieved September 18, 2024.
- 1 2 3 4 5 6 7 "Sheila Ortiz Taylor's 'Faultline': A Third-Woman Utopia". Confluencia. 6 (2): 75–87. 1991. JSTOR 27922013.
- ↑ Ritchie, Joy; Boardman, Kathleen (1999). "Feminism in Composition: Inclusion, Metonymy, and Disruption". College Composition and Communication. 50 (4): 585–606. doi:10.2307/358482. JSTOR 358482.
- ↑ Christian, Karen Sue (1994). Performance and the construction of identity in United States Latin fiction (Thesis). ProQuest 304081005.[ page needed ]
- ↑ Carsillo, Mary A (2003). Missionary positions: Unpinning women from under the paradigms of patriarchal discourses of the nation (Thesis). ProQuest 305346764.[ page needed ]
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