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.
Lourdes Portillo was a Mexican film director, producer, and writer. The political perspectives of Portillo's films have been described as "nuanced" and versed with a point of view balanced by her experience as a lesbian and Chicana woman. Portillo films have been widely studied and analyzed, particularly by scholars in the field of Chicano studies.
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.
Yolanda Margarita López was an American painter, printmaker, educator, and film producer. She was known for her Chicana feminist works focusing on the experiences of Mexican-American women, often challenging the ethnic stereotypes associated with them. Lopez was recognized for her series of paintings which re-imagined the image of the Virgen de Guadalupe. Her work is held in several public collections including the Smithsonian American Art Museum, the San Francisco Museum of Modern Art, and the Los Angeles County Museum of Art.
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.
The UCLA Chicano Studies Research Center (CSRC) was founded in 1969 to foster multidisciplinary research efforts at the University of California, Los Angeles (UCLA). It is one of four ethnic studies centers established at UCLA that year, all of which were the first in the nation and have advanced our understanding of the essential contributions of people of color to U.S. history, thought, and culture. The centers remain the major organized research units in the University of California system that focus on ethnic and racial communities and contribute to the system's research mission.
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.
Elizabeth "Betita" Martínez was an American Chicana feminist and a long-time community organizer, activist, author, and educator. She wrote numerous books and articles on different topics relating to social movements in the Americas. Her best-known work is the bilingual 500 years of Chicano History in Pictures, which later formed the basis for the educational video ¡Viva la Causa! 500 Years of Chicano History. Her work was hailed by Angela Y. Davis as comprising "one of the most important living histories of progressive activism in the contemporary era ... [Martínez is] inimitable ... irrepressible ... indefatigable."
Graciela Limón is a Latina/Chicana novelist and a former university professor. She has been honored with an American Book Award and the Luis Leal Award for Distinction in Chicano/Latino Literature.
Aurora Guerrero is a writer-director from California.
Francisca Flores was a labor rights activist, an early Chicana feminist, a journal editor, and an anti-poverty activist.
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.
Yreina Cervantez is an American artist and Chicana activist who is known for her multimedia painting, murals, and printmaking. She has exhibited nationally and internationally, and her work is in the permanent collections of the Smithsonian American Art Museum, The Mexican Museum, the Los Angeles County Museum, and the Los Angeles Museum of Contemporary Art.
Diane Francis Christine Felix, also known as Chili D, is an American disc jockey and LGBT activist. She is a third-generation Chicana from Stockton, California.
Hijas de Cuauhtémoc was a student Chicana feminist newspaper founded in 1971 by Anna Nieto-Gómez and Adelaida Castillo while both were students at California State University, Long Beach.
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.
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.
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.
Dalila Paola Méndez, is an American visual artist of Guatemalan/Nicaraguan/Salvadoran descent.
Chicana is a 1979 short documentary film by director Sylvia Morales overviewing the history of the Chicana figure from the pre-Columbian era to the Chicano Movement. The film has a run time of 22 minutes.
