Chst1c - Casillas PDF

Preview

Summary

Casillas...

Description

●

Week 1 ○ Rancheras ■ Rancheras = rancho = ranch ( urban migration) ● Originally catered to lower working class experience ● Made popular in 1950s by jose alfredo jimenez( penned over 500 songs) ● Sung to mariachi music in spanish ■ Style ● Performance is dramatic and emotional(hand gestures, tears) ● Interactive, audience to talk to performers ● “Drinking sing alongs” w tequila ● Sexiness or attraction ( charro outfit plus song) ■ Content ● Poetic structure is brief and symple (love, desire, loss, repeat ● Nostalgia, romanticized vision of a past or place ● Nostalgia or longing for an elusive lover ● Emotional sentiments about mexico and being mexican ● Most singers are men, but despite macho stereotype, serves as a space to cry , be emotional ● strings /trumpets ■ Vicente fernandez ● King od rancheras ● “No great composers, only great songs ○ Gritos ■ Gritos - coval expression, soulful cries of emotion, an”i hear you”, form of approval, call and response ■ Mariachi arcoiris - first lgbt mariachi band from los angeles ○ Corridos ■ Corridos - ballad or poem that tells a story ● Sung to norteno music ○ “Mexicanized polka” ● Abcb rhyme scheme, any number of stanzas ● no chorus ● Roots lie in spanish romance ● Usually stories about adventures of men ● Usually has moral ● Soundtrack of border/immigrant experience ● Dignified defeat(accordion ■ Los tigres del norte ● From san jose ● Brothers ● “Urban cowboys” fashion ● Songs based on mexicans in the us or mxican immigration ● No set playlist

● Dances not concerts Linda rondstadt ● Popular rock and roll singer ● Canciones de mi padre - made her famoud in mexican community Ethnic terms distinctions ■ Hispanics ● Developed around 1970s ● Government issued term ● More east coast popularity ■ Chicano/os ● Developed around 70s ● Roote in aztec myth ● Used by communicaties, organically ● Chosen identity ● Signals mexican ● More west coast popularity ■ Cesar Chavez ● Cesar chavez day is march 31 ■ El Nopal ● Loteria card ● Cactus is national plant ● “Tienes el nopal en frente” - theres a cactus on your forehead ● Culturally - means someone who doesnt admit to being mexican or doesnt speak spanish but looks mexican ● Hurtful ■ Hispanic ● Shared history due to language ● Spanish speaking countries ● Includes spain ● Government issue ■ Chicano ● Politicized identity ● 60s/70s origin ● Initially for mexican origin people ● More so considered a political view ● May be derived from mexicano, pronounced mexichicano ● Four main events construct chicano history ○ Spanish conquest 1519-1521 ○ United states- mexican war 1846-1848 ○ Mexican revolution 1910-1920 ○ Chicano/a movement 60s and 70s ■ Chicana/o ● Gender specific ● Presence more visible ■

○

■

■

■

■

■

■

■

■

●

● Feminist ● / = represents patriarchy Treaty of guadalupe hidalgo, 1848 ● Added additional 525000 square miles to US territory ● Taken from mexico Aztlan ● Ancient homeland of chicanos and chicanas ● Geographical and ideological belief that mexico and the southwest were aztec land ● Resurfaced in 60s/70s ● Inspired poetry, art, fashion, music ● Aztlan means land of the herons or whiteness Definition:chicano and chicana ● Politicized identity; attentive to historical struggles ofver land and langage ● “Chicano is a mexican american who does not have an anglo image of themslves ● Chosen identity, one becomes chicano or chicana Latino ● Latin america countries ● Shared history due to colonization ● media /mainstream recognition latina/o ● Similar to chicana/o ● Mexican and central americans ● Puerto ricans and mexicans chican@/latin@ ● @= queering the a/o ● Collapse gender binaries ● Difficult to pronounce Latinx and chicanx ● Gender neutral term for non binary or non gender conforming individuals ● Challenging spanish as a patriarchal language ● Recognizes intersectionality Xicanx ● X acknowledges nahuatl ponounciation ● Acknowledges gender fluidity

Week 2 ○ Son Jarocho ■ La bamba ■ Son jarocho ● From veracruz, region of mexico ○ African, indigenous, spanish influences

○ Used as slave ports Used during traditional mexican dance(folkloric) 2 instruments ○ La jarama - small 8 string instrument ○ Tarima - wooden platform(play with feet, used as percussion ● Fandangos - jam sessions/community sessions ● Simplicity to tune ○ Having more community sessions ○ More inclusive ● Gender inclusive - both genders partake ● interactive(sing, dance, play, audiences can hop in) ● Can “have no end” - repetition ● Limited instruments ● Very upbeat ● Often has 2 or more vocalists ○ Seems more democratic “Ritchie Valens” ● His la bamba was the B side to his hit “donna” ● Entered top 40 2 weeks before he died in plane crash ● In top 500 songs of all time by rolling stones, La bamba is the only spanish song(354) Los lobos ● Chicano band that sang a rendition of la bamba for the movie “la bamba” ● The first #1 US hit where lyrics were entirely in spanish ● ●

■

■

○

Banda ■ Cultural texts - social products, practices, aesthetics that emerge from economic and political exchanges. These texts can include literature, music, art, fashion food etc ■ Banda ● Affirming place, dignified existence ● Big wind instruments, trombones, tuba ● Mexican cowboy muic - boots, hats ● Associated w radio play, public listening at brown collar jobs ● Recognized as backward, vulgar, disreputable, unlike mariachi ● Primarily associated w Sinaloa in central mexico ● Can consist of 10-17 musicians ● Danceable - mix of polka, waltz, cumbia, fox trot ● Once considered rural, now very urban ■ Context for banda (90s ● Mexico ○ Severe drought ○ Decrease of peso

○

○ Reliance of economic remittances ○ Increased migration from mexico to US ● California ○ Anti immigrant sentimetn ○ Government wilson - tough on immigration stance ○ Electorate measures directed towards latinos in california ● Nuevo Mexico ○ Maywood ○ Bell Gardens ○ Many mexicans moved to suburbs around la ● Quebradita ○ Dance that is associated with banda ○ Very close dance ○ “Difficult and dangerous” ○ Quebradita clubs - encouraged visible movement ● Ethnic pride ○ Even in the US, where being mexican was looked down on, immigrants flaunted their origin ● Challenged assimilationist attitudes ● Political response ○ Banda served as a collective community response to the social disapproval that mexicans experienced in the US ● Banda is not about nostalgia, but about affirming a sense of place Punk-cheras and alice bag ■ Punk culture ● Not emo/goth ● Recognized by music and fashion ● Anti establishment ○ Rebellious ○ Against status quo ○ Did not exclude misfits ● Height was in 70s and 80s ● Fashion ○ Self presentation ○ Ripped clothing ○ Safety pins ○ Mohawks ● Music ○ Aggressive, fast, angry ○ Mosh pits ■ Estilo bravio (wild style) ● Characterized by women who sang rancheras ● Demanded same respect as men ● Changed pronouns

■

●

● Chavela vargas - well known rancheras singer Alice Bag ● Influenced hollywood/east la punk culture ● Signature emotion in sound ○ Aggressive ○ Rage comes from family domestic abuse ● Influenced by rancheras

Week three ○ Pachuca fashions chicana statements ■ Pachucos and pachucas ● 1940s ● Style politics: an expression of difference via style; relies on conspicuous consumption ● Chicana “style”: display of specific codes of culture, hair, dress, makeup ■ Zoot suit ● Communicated loud fashion to anglos and middle class ● Communicated urban working class pride to mexican american youth ● Pachucos made themselves proudly, publicly visible ■ Other suits ● Considered anti american: every boy who buys such a garment (zoot suit) is unpatriotic indeed ■ Victory girls ● “Patriotic” to be eyecandy ■ Pachucas ● Females often wore male inspired versions ● Working class element ● Ducktail hairstyles and brimmed hats for men, bouffants (“rats”) for women ● Skirts and excessive makeup ● Embodies wartime fears, juvenile delinquency ● “Looked tacky and cheap” ● Like their male counterparts, carved out a distinct generational and ethnic identity, defied middle class ethics, aesthetics, and expectations, and affirmed a racialized, chicana difference ■ Gendered behavior ● Flirted with an image of disrepute ● Represented anti assimilation both in behavior and aesthetics ● Women in the public sphere (calle = street) ○ Razabilly ■ Term is play on rockabilly ■ Centino: “memory made flesh” ● 50s and 40s aesthetic

■

○

●

Wearing the archive ● De Luna: “We go back in time to let new generations know: ‘ we existed. We were here” ● “I love the dramatic cholita eye makeup that my tias and mom used to wear. I find comfort when people feel nostalgic when they see my outfit”

Ruca ■ 80s 90s ■ “Ruca” refers to girl, girlfriend, friend ■ Insta site rucas ● Community archive ● Family and crew photos = documents a decade (1990s), an aesthetic (hair, brows, lips, fashion) and family (biological and chosen) ● Before “selfies”, significance of someone else taking your photo ○ Cholas ■ Barbara calderon douglass ● “A chola is the epitome of beauty, style, and pride with a badass, take no shit attitude, she is a strong and proud woman who holds it down for her family” ● “Being a chola is forged out of the struggle to assert our culture and history, a struggle that continues” ■ Chola aesthetic ● “Embodies the remarkable strength and creative independence it takes to survive in a society where your social mobility has been thwarted by racism… conceived by a culture that dealth with gang warfare, violence, poverty on top of conservative gender roles. The clothes … were signifiers of their struggle and hard won identity” ● Concern that chola look is considered just a look, appropriated ■ Chicana fashion codes ● Raiders fan ● Red lipstick ○ “Red is my black.. Red is where we begin/// we use red to assert a brown femininity” Week four ○ Mexicana fashions ○ Personal identity ■ An aspect of the self that is composed of psychological traits and dispositions that make the individual unique; formed within family ○ Social identity ■ Encompasses the aspects of the individual’s self that derive from their knowledge of membership in a particular group, such as gender, class, and ethnicity

○

○

○

○

○

○ ○

○ ○

○

Identification ■ A person’s relation to others within an assigned level or class. Individuals see themselves belonging to certain social formations - ethnic, gender, class groups Consciousness ■ The level or class position within a society ■ Through consciousness, individuals become aware that the social formations they belong to hold a certain status Intersectionality ■ Facilitates an understanding of the social and economic conditions of women of color. Chicanas experience multiple stigmatized identities Fashion ■ “The modal style of a particular group at a particular time… the style which is considered appropriate or desirable” Aesthetic ■ “The philosophy of theory of taste, or of the perception of the beautiful in nature and art” Identity ■ Display of style that is related to an individuals social identity Chicana fashions ■ Communicates to others about both the self and the collective ■ Fashion vocabularies for latinas/os stem from histories, social existences, and aesthetics derived from other cultures ■ Chicana aesthetic is layered and complex; numerous codes to read ■ Significance of adorning the already classed and racialized body Wearing ‘home’ Self adornment ■ All societies consider self adornment to be indicative of group memberships, and most societies have elaborate rules about the types of self adornment that are appropriate based on their intersectional identities based on gender, class, sexuality, and other significant groupings Norma cantu ■ Huipiles ● Indigenous homes ○ Derivative of the nahuatl word ‘huipoopi’ ○ Meaning blouse, cueitl means skirt; ○ Together they form the metaphor for woman ○ Marker of indigenous identity for women in mesoamerica ● Chicana statements ○ Not place bound; signals an alliance and solidarity with indigenous women in the americas; nurtures and feeds chicanas sense of self ● Significance

○

■

○

“By wearing the garment, chicanas become part of the narrative of the indigenous peoples of the continent, for in some ways, wearing huipiles is a kind of storytelling, a narrative that tells the tale of the wearer and the weaver at once”

Frida kahlo ● mexicana /chicana = mexicana ● Huipiles ○ Often remarked that her indigenous fashion choices reflected her persistence, warrior spirit ● Rebozos ○ Long, shawl like coverings; multiple uses ● Color ○ Taste in color is a learned, inherited form of taste ● Peasant blouse ○ Hand embroidered ○ Indigenous as “peasant” ■ Fashion choices, political choices ● Anti archive ○ Communicating a past as well as a contemporary story; class consciousness ● Moral economy ○ Honoring the artisanal skills; paying a just wage; statement against the globalization of fashion ● Public affirmations of indigenous histories Five themes/ethnographic data ■ Politics of location ● Jennie Luna ○ Conscious of where the huipil comes from and where the money is going ■ Invocations of indigeneity ● Lilliana saldana ○ Honor culture and knowledge of ancestors and continue to support the work of present day artisans ■ Pedagogical implications ● Maria figueroa chacin ○ Feels like it validates chicanx and latinx students and families, especially mothers ■ Embodies iconographies ■ chicana/indigena adornment in institutional settings ● Each huipil and necklace carries with it a genealogy traversing hemisoheric routes of remembrance, and as these professors were their revered pieces, transformed the spaces they traverse ● Armor in institutional settings

○

●

Most of my rebozos and huipiles are purchased from womens collectives in mexico or small communities developing fair trade practices. The process holds energy in the material and in the construction

Week 5 ○ La llorona ■ Role of folklore ● Guiding principles, moral tales ○ Functions as a daily logic and worldview of people around us ○ Women's lives are known as examples of what to do or not to do ● Evolve and travel across nations (significance of storyteller) ○ Women’s bodies = frontiers ● Details are not as significant as their function ○ What happened is less important than what stories get told about events and by whom and what has been made of these stories ■ Mestiza mothers ● La llorona ● Monstrous feminine ● Mother as traitor ● Woman preys upon innocent ment and children ■ Allegory ● Draws a special attention to the narrative character(story). It breaks down the cultural descrition by adding a temporal aspect to the reading (temporary descriptions) ■ La llorona (weeping woman) ● Mother of 2 children ● Jealous of husbands love for children ● Drowned children ● Husband left ● Killed herself ● Cant go to heaven ● Often spotted at night, near a river ● Envisioned or portrayed in white ■ Traditional ● Looking for any children ● Moral ○ Danger to men and children ○ Traitor to countrymen ■ Gendered lessons ● For children, polices mobility (do not wander too far away or near dangerous bodies of water or conditions)

● ●

○

For women, polices sexuality and class mobility; how not to act For men, be cautious of women who may be tempting you with their dangerous sexuality; thieving mothers ■ Contemporary ( rarely circulated) ● Poor woman drinks polluted water from factory, kills children to save them from hard life ● Woman mourning her children who are lost to assimilation ● Woman who murders children to escape a difficult existence within society ● Moral ○ The physical man is absent and replaced by male institutions of power ○ When she represents physical and communal loss, she contains the possibility of resistance ■ Meanings of the wail or cry ● Traditional ○ Crying because she is not allowed in heaven ○ Because she repents killing her children ○ Because this does nothing to help with her love/man situation ○ Because she is forever cursed ● Contemporary ○ Because she is in a working poor or working class dangerous situation ○ Because she does not understand or can support a sense of balance ○ Because she or her children risk being even more alienated ■ Consisted themes ● Nature and water; a river, lake, drainage, rain, wind, or rural setting (contemporary versions include more urban themes) ● Haunting wail or cry; she does not speak ● A woman; motherhood or mothering ■ Frantz Fanon ● There is a tendency to bring conflicts up to date and to modernize the kinds of struggles which the stories invoke La malinche and pocahontas ■ La malinche ● (malinalli, malintzin, marina) ● Conquest: possession gained by force, physical or moral; implies combat ● Silenced, rely on records around them ○ Not from their point of view ● Paired with spanish (white) man, Hernan Cortes

●

■

■

■

■

■

Sexual relationship with hernan cortes, Recognized as hyper sexual (although presumed to have sexual partners) ● National disgrace ● Linguistic translator (5-6 languages) ● Sold from one culture to another and given over to yet another ● “Unparallelled status - to be ranked in the pantheon with the virgen de guadalupe, perhaps la llorona, and recently Selena” ● Significance of reinterpretations, Gloria Anzaldua, “the worst kind of betrayal lies in making us believe that the indian woman in us is the betrayer Pocahontas ● Colonzation: “settlement” of new lands; takeovers; implies “new land”; assimilation ● Silenced, rely on records around them ● Paired american (white) man, John Smith ● Recognized with less sexual overtones, presumably because of age ● Body described as “virginal and pure” like the frontier ● Indian princess ● Cultural translator ● Used as a symbol of civil war for anglo audiences ● Recognized as a heroine ● Significance of reinterpretations, acceptance of “civilization” Early visual depictions ● La malinche ○ Mediator of conversations with powerful man ● Pocahontas Relationship with men/ remembered ● La malinche ○ Sexual act (white man into her body), bearing children = mestizo/ mixed race (fall of empire) ○ Remembered as intelligent, without embarassment ● Pocahontas ○ “The only good indian… rescues and helps white men” ○ Remembered as resting her head on john smith to save him from execution “Conversions” ● Both women converted to christianity ● Both changed their names ● Move towards white men, (white) religion, whiter nations ● Both men were not their husbands ● Malinche as betrayal and pocahontas as truce ● Malinche as mistress, pocahontas as not Mother figures/ national figures

● ●

○

○

Malinche as “inferior mother” next to virgen de guadalupe Pocahontas as mother or grandmother of two cultures, “blending of two cultures” La virgen de guadalupe ■ Ideal mother ■ Asexualized dark skinned; “la morena” or the “Brown Virgin” ■ Religious , popular culture ■ Guardian of those most disenfranchised ■ Her own day, dec 12 ■ Powerful because she is jesus’s mother ■ La virgen and chicana/o/x communities ● Visible emblem of latinos in the US ● Icon of social justice; protector of the poor, of immigrants ● The most visible brown woman in US ■ Her traditional moral strength remains but her contemporary vision is slowly changing ■ Iris rodriguez ● “Made virgen a adolescent” Quinceaneras and cincuentaneras ■ Quinceanera ● 15th birthday party ● Celebrated among different latino communities ● Origins date back to colonial times ● Elements ○ Celebrations ■ Church service, special mass ■ Dance hall, live music, recording or photograph services ■ Dinner, cake, transportation ■ Chambelanes or escorts/date ■ Madrinas and padrinos (godparents); spiritual and financial role ■ Average cost is pricey ○ Markers of womanhood ■ Formal dress often with crown ■ High heels, m...