Xicana y Xingona video adaptation
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Xicana y Xingona video adaptation
#xicanafeminism
#xicanayxingona
1970 Chicano Moratorium
45 years ago today in East LA, 30,000 marched in the Chicano Moratorium in protest of the Vietnam War, and in an act of self-determination for Chicanos. Historians believe the Chicano Moratorium was one of the largest anti-war protests of its day and the first to call attention to the number of Chicanos disproportionately represented in the Vietnam War.
Thousands who gathered at Laguna Park after the march to listen to speakers and performers were forced to run for cover after deputies from the Los Angeles County Sheriff’s Department began brutally attacking march-goers with night sticks. Reporter Rubén Salazar was one of them.
Salazar, who was a well-known journalist, was killed later that evening at the Silver Dollar Bar on Whittier Boulevard when sheriff’s deputies shot a tear gas canister into the bar. The canister hit Salazar in the head and killed him instantly. Salazar had clashed with local police in the months before his death, reports the LA Times. Ángel Díaz and Lynn Ward also died that day.
The Moratorium remains a symbol of resistance for new generations of Chicanos discovering their roots and place within current social justice movements.
Austin, Texas, May 28, 1981. A Dallas chapter member of the Brown Berets, a Xicana/o revolutionary group organized in the late 1960’s, at a police brutality demonstration.
“Chicana brown berets from the 1970’s. My heart.“
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XicanayXingona
Like La Llorona, the Indian woman’s only means of protest was wailing.
Gloria Anzaldua, Borderlands/ La Frontera: the New Mestiza (via la-xingada)
Chicana adaptation of Rosie the Riveter
There are three iconically potent female archetypes in Hispanic culture, La Malinche, La Llorona and La Virgen de Guadalupe. Walk into any Latino household and your chances of seeing some representation (you might even find an entire shrine) of la Virgen de Guadalupe is very high. In Hispanic culture, she is the ideal; the revered Catholic icon, the purest form of woman. She is the mother of God and the saint we pray to when our loved ones are on their deathbeds, or after we have just purchased a lottery ticket. In her form we are told that this is the impossible standard to which we should aspire to, which is the most obvious form of bullshit. If I had read the last sentence I just wrote out loud to my Grandmother she would scold me for the disrespect.
La Malinche, or Dona Marina, the slave and mistress of the Spanish conquistador Hernan Cortes has become the Hispanic representative of female sexuality. She is iconic in our culture for playing a role in the Spanish conquest of the Aztec empire and later, for giving birth to one of the first Mestizos (a person of European and indigenous American ancestry). The Mexican people would likely not exist without her. Malinche is known for having seduced Cortes and because of her role in the war, people believed she was treacherous and disloyal. To this day in Mexico the term malinchista refers to a disloyal person. La Malinche’s blatant example of sexuality is something that many Latinas are told from a young age to deny and/or repress, otherwise we run the risk of being called a whore, a woman asking for it. There is not one thing more disappointing than this to a Hispanic father.
La Llorona is something else entirely. First introduced to me as a child, I knew her story to be folklore, however in reading texts about the history of feminism in Mexico, I learned people believe she was a real woman who existed sometime in the 1500s. She was a woman betrayed. Known to be the most beautiful woman in Mexico, she married a man outside of her rank. Later, when he decided he was done with her, and he left to be with another woman, she drowned their two children in a nearby river out of despair and anguish. The legend is that she roams rivers and lakes in Mexico and the American southwest searching for her children, wails coming from the pit of her soul, she is doomed to live eternity in “the in-between”, not quite on Earth, not quite in the afterlife. Hispanic parents tell their children this story as a cautionary tale so they don’t wander far from home, but in my research I’ve come to believe that one of the reasons La Llorona’s story has been perpetuated and has survived as long as it has is because it reinforces a belief of the Hispanic patriarchy that women are inherently sinful and must be controlled. This belief is ancient and still prevalent.
These three figures represent the roles available to women in Mexican heritage, la madre, la virgen, y la puta. (you are either a mother, a virgin, or a whore). Many Chicana feminists (such as Sandra Cinseros and Ana Castillo, just to name two) are invested in exposing and deconstructing the ideological structure which is severely limiting. The belief is that if we dismantle damaging ideologies which are revealed and perpetuated through stories about “Our Three Mothers”, as they are sometimes referred as, we examine the virgin/whore dichotomy and reconceive the role of women in Hispanic culture.
Feminism is an ideology I was not raised with, in fact I would bet that most of the women in my family wouldn’t even call themselves a feminist. This is not because they don’t believe in equality, but more that the ideas of feminism were just not something they’ve given second thought to. The patriarch of my family my stern, lion-like Grandfather, was born and raised in Guadalajara, Mexico and immigrated (illegally, at first) to the States with his parents and fifteen (yes, fifteen) siblings in the early 1950s. My Grandmother, aunts, and my mother were too busy working, raising families and throwing impromptu BBQs for no reason other than it was a nice day and they could, to consider things like reproductive rights or, even though it was something one of my aunts (and myself) have lived through, sexual violence. My Grandmother, for example, certainly did not have the luxury to sit back and think about her status in a male-dominated world and what did it all mean?, while raising six children, keeping up their modest home, dealing with racist neighbors (my family was the only non-white family in town at the time) and getting back-handed by Grandpa if she raised her voice at him at the dinner table. A thing like feminism was reserved for gringas…
The game originated in Italy in the 15th century and was brought to New Spain (Mexico) in 1769.
1 El gallo The Rooster
El que le cantó a San Pedro no le volverá a cantar.He that sang to St. Peter will not return to sing again.
2 El diablito (The Little Devil)
Pórtate bien cuatito, si no te lleva el coloradito.Behave yourself so that the little red one doesn’t carry you off.
3 La dama The Lady
Puliendo el paso, por toda la calle real.Polishing the path, along the entire royal street
4 El catrín The Dandy
Don Ferruco en la alameda, su bastón quería tirar.Don Ferruco in the Alameda, he wanted to toss away his cane.
5 El paraguas The Umbrella
Para el sol y para el agua.For the sun and the rain.
6 La sirena The Mermaid
Con los cantos de sirena, no te vayas a marear.Don’t get dizzy with the songs of the mermaid.
7 La escalera The Ladder
Súbeme paso a pasito, no quieras pegar brinquitos.Climb me step by step. You don’t want to hop up.
8 La botella The Bottle
La herramienta del borracho.The tool of the drunk.
9 El barril The Barrel
Tanto bebió el albañil, que quedó como barril.The bricklayer drank so much, he ended up like a barrel.
10 El árbol The Tree
El que a buen árbol se arrima, buena sombra le cobija.He who nears a good tree, good shade blankets him.
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