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.
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.
Gloria Evangelina Anzaldúa was an American scholar of Chicana feminism, cultural theory, and queer theory. She loosely based her best-known book, Borderlands/La Frontera: The New Mestiza (1987), on her life growing up on the Mexico–Texas border and incorporated her lifelong experiences of social and cultural marginalization into her work. She also developed theories about the marginal, in-between, and mixed cultures that develop along borders, including on the concepts of Nepantla, Coyoxaulqui imperative, new tribalism, and spiritual activism. Her other notable publications include This Bridge Called My Back: Writings by Radical Women of Color (1981), co-edited with Cherríe Moraga.
Ana Castillo is a Chicana novelist, poet, short story writer, essayist, editor, playwright, translator and independent scholar. Considered one of the leading voices in Chicana experience, Castillo is most known for her experimental style as a Latina novelist and for her intervention in Chicana feminism known as Xicanisma.
New tribalism is a theory by queer Chicana feminist Gloria E. Anzaldúa to disrupt the matrix of imposed identity categories that the hegemonic culture imposes on people in order to maintain its power and authority. Anzaldúa states that she "appropriated" and reused the term from David Rieff, who had "used it to criticize [her] for being 'a professional Aztec' and for what he saw as [her] naive and nostalgic return to Indigenous roots." Rieff stated that Anzaldúa should "think a little less about race and a little more about class." In response, Anzaldúa developed the concept in order to form an inclusive social identity that "motivates subordinated communities to work together in coalition."
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.
This Bridge Called My Back: Writings by Radical Women of Color is a feminist anthology edited by Cherríe Moraga and Gloria E. Anzaldúa, first published in 1981 by Persephone Press. The second edition was published in 1983 by Kitchen Table: Women of Color Press. The book's third edition was published by Third Woman Press until 2008, when it went out of print. In 2015, the fourth edition was published by State University of New York Press, Albany.
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.
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.
Speaking in Tongues: A Letter to 3rd World Women Writers is a letter written by Gloria E. Anzaldúa. The letter was drafted in 1979 and was published in Anzaldúa’s feminist anthology This Bridge Called My Back: Writings by Radical Women of Color (1981). Writing this essay in the format of a letter, Anzaldua urges the reader to “write from the body” and she connects her body to other bodies, creating a community of embodied people. This essay is addressed to women of color as she shows sympathy, encouragement, and words of wisdom towards them. The essay addresses women of color and encourages these women to make their personal, embodied experiences visible in the text. The reader must also allow the text to enter herself, if the reader chooses to enter the text.
Ecofeminism is a branch of feminism and political ecology. Ecofeminist thinkers draw on the concept of gender to analyse the relationships between humans and the natural world. The term was coined by the French writer Françoise d'Eaubonne in her book Le Féminisme ou la Mort (1974). Ecofeminist theory asserts a feminist perspective on Green politics that calls for an egalitarian, collaborative society in which there is no one dominant group. Today, there are several branches of ecofeminism, with varying approaches and analyses, including liberal ecofeminism, spiritual/cultural ecofeminism, and social/socialist ecofeminism. Interpretations of ecofeminism and how it might be applied to social thought include ecofeminist art, social justice and political philosophy, religion, contemporary feminism, and poetry.
Chela Sandoval, associate professor of Chicana Studies at University of California, Santa Barbara, is a noted theorist of postcolonial feminism and third world feminism. Beginning with her 1991 pioneering essay 'U.S. Third World Feminism: The Theory and Method of Oppositional Consciousness in the Postmodern World', Sandoval emerged as a significant voice for women of color and decolonial feminism.
Nepantla is a concept used in Chicano and Latino anthropology, social commentary, criticism, literature and art. It represents a concept of "in-between-ness." Nepantla is a Nahuatl word which means "in the middle of it" or "middle." It may refer specifically to the space between two figurative or literal bodies of water. In contemporary usage, Nepantla often refers to being between two cultures, particularly one's original culture and the dominant one. It usually refers to a position of perspective, power, or potential, but it is sometimes used to designate a state of pain or loss.
Third Woman Press (TWP) is a Queer and Feminist of Color publisher forum committed to feminist and queer of color decolonial politics and projects. It was founded in 1979 by Norma Alarcón in Bloomington, Indiana. She aimed to create a new political class surrounding sexuality, race, and gender. Alarcón wrote that "Third Woman is one forum, for the self-definition and the self-invention which is more than reformism, more than revolt. The title Third Woman refers to that pre-ordained reality that we have been born to and continues to live and experience and be a witness to, despite efforts toward change ..."
Queer of color critique is an intersectional framework, grounded in Black feminism, that challenges the single-issue approach to queer theory by analyzing how power dynamics associated race, class, gender expression, sexuality, ability, culture and nationality influence the lived experiences of individuals and groups that hold one or more of these identities. Incorporating the scholarship and writings of Audre Lorde, Gloria Anzaldúa, Kimberlé Crenshaw, Barbara Smith, Cathy Cohen, Brittney Cooper and Charlene A. Carruthers, the queer of color critique asks: what is queer about queer theory if we are analyzing sexuality as if it is removed from other identities? The queer of color critique expands queer politics and challenges queer activists to move out of a "single oppression framework" and incorporate the work and perspectives of differently marginalized identities into their politics, practices and organizations. The Combahee River Collective Statement clearly articulates the intersecting forces of power: "The most general statement of our politics at the present time would be that we are actively committed to struggling against racial, sexual, heterosexual, and class oppression, and see as our particular task the development of integrated analysis and practice based upon the fact that major systems of oppression are interlocking. The synthesis of these oppressions creates the conditions of our lives." Queer of color critique demands that an intersectional lens be applied queer politics and illustrates the limitations and contradictions of queer theory without it. Exercised by activists, organizers, intellectuals, care workers and community members alike, the queer of color critique imagines and builds a world in which all people can thrive as their most authentic selves- without sacrificing any part of their identity.
AnaLouise Keating is an American academic who is professor of Multicultural Women's and Gender Studies at Texas Woman's University in Denton, Texas. She is also the director of the department's PhD program. Keating's multiple books, essays, and edited collections primarily focus on transformation studies, U.S. women-of-color theories, Gloria Anzaldúa and pedagogy.
Xicanx is an English-language gender-neutral neologism and identity referring to people of Mexican descent in the United States. The ⟨-x⟩ suffix replaces the ⟨-o/-a⟩ ending of Chicano and Chicana that are typical of grammatical gender in Spanish. The term references a connection to Indigeneity, decolonial consciousness, inclusion of genders outside the Western gender binary imposed through colonialism, and transnationality. In contrast, most Latinos tend to define themselves in nationalist terms, such as by a Latin American country of origin.
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.
The Coyolxauhqui imperative is a theory named after the Aztec goddess of the moon Coyolxauhqui to explain an ongoing and lifelong process of healing from events which fragment, dismember, or deeply wound the self spiritually, emotionally, and psychologically. The imperative is the need to look at the wounds, understand how the self has been fragmented, and then reconstruct or remake the self in a new way. Repeatedly enacting this process is done in the search for wholeness or integration. The concept was developed by gay Chicana feminist Gloria E. Anzaldúa.
