Mitchell Hall Class time: These life narratives span from the early twentieth century to the early twenty-first century. Through these life stories we learn the culture and story of Chicana and Mexican America.
Additional Information In lieu of an abstract, here is a brief excerpt of the content: Identity, Disguise, and Politics ONE The contradictions embedded in colonialism shape the creative contributions ofLatina artists, writers, and performers.
Their work is now and always has been the result ofa theatrical mestizaje which represents the ongoing conflict inherent in the merger of two worlds: The invisibility of women in the production of theater must be understood as connected in part to the overall powerlessness of women in Latin America.
In many sectors ofsociety, this powerlessness has been reinforced by patriarchal and Christian values. In particular, the marianismo and machismo within the margins of gender roles and their definitions are sustained by the idealization ofthe female subject posited in the cult of the Virgin Mother Mary and further codified by the dictates of an intensely patriarchal society.
The framework provided in this chapter emphasizes the political and theoretical definitions ofgroup identity, as weIl as its diverse racial and cultural roots. Italso ties together the histories ofvarious groups, such as Mexicans, Puerto Ricans, Cubans, and Central Americans in the u.
Further, in sketching a general outline of the trajectory of identity generation, this chapter makes explicit the shared transitory nature connecting the significant historical events of annexation, migration, 2 Latina Performance and exile.
Finally, in recognizing "Latino" as a homogeneous, male construction, the discussion simultaneously emphasizes the multiple determinants of the gendered construction "Latina. I believe, however, that acknowledging distinctions embedded in the configuration of Latinidad Latin-ness is the most powerful way to communicate the importance of this concept.
The formation of a strong, positive group identity-one that recognizes and embraces heterogeneity -is key to escaping the shackles of a colonized subjectivity. Against Homogeneity The sense ofcollective identity "Latin America" sterns less from a history of shared community than from the shared history of opposition to the colonial powers.
Latin Americans may not all know about or like each other, but by and large they feel intense animosity toward the United States, which has become the latest in a long history of colonizers.
Negotiating Performance discusses the political contestation which not only shapes the heterogeneous character of the term "Latin American" and its hybrid variants but also influences diverse modes of representation. In her "Opening Remarks," Taylor expands the categories that mark the hybridity ofidentity formation and theatrical and performative practices.
Ofspecial importance is the contribution Negotiating Performances makes by recognizing the centrality of border cultures as a field of study and suggesting new models for future research in the area.
Latina Performance expands the conceptualization of a field that, in emhodying politics and performativity, provides a site for critical discourses across disciplines. It continues the search for open-ended definitions of Latinidad and the sense of self.
I am convinced that the development ofLatino and Latina studies within theater and performance and other disciplines must start with a quest for the pluralism that necessanly perpetuates specific cultural practices that challenge both In Quest ofLatinidad 3 colonial and imperialist U.
In this context, the idea of unidad latinoamericana must be defined as a "unity" consolidated in the struggles of liberation.
The essential unity is one not of languages and origin, but of problematics.
The very complexities of Latinidad may be the crucial distinguishing mark of Latino culture and identity in the Americas. For David Roman and Alberto Sandoval, the development of this notion has been motivated by the "crisis ofcategorization and this tension between competing political ideologies; it arrives on the scene as a nostalgie reinvocation of the markers of a cultural heritage and homeland -wherever that may be-for the gente by the gente.
You are not currently authenticated. View freely available titles:Our goal is to create a community of people who are interested in advocating for others who face discrimination as a differently abled person and ethnically/racially different.
we'll explore the story of race and gender in building the mainstream. How do we reshape the idea of 'latinidad' when talking about the Diaspora away from white. What is Latino culture, or Latinidad?
Is there one? In my experience, my national and regional identity have meant more to me than my ethnic identity as a Latina.
Jul 08, · “I started coloring [my hair] in my thirties, so that was a lot of Sunday evenings sitting in the bathroom, waiting for the timer to go off, just so I could perform some kind of gendered social acceptability,” said Castro, whose hair had been dark brown and shoulder length most of her life.
Dr. Nicole M. Guidotti-Hernández. Department of American Studies.
Department of Mexican American and Latina/o Studies. University of Texas at Austin. The main focus of the study is on the respondents’ evaluations of gender, race and class representations in the talk shows El Show de Cristina and Laura en América.
Interview transcripts reflected Latinas’ ambivalent and conflicted relationship with the television programs.
Radha S. Hegde Part I: Configuring Visibilities 1 Seeing Princess Salma: Transparency and Transnational Intimacies 21 Gendered Productions of Balkan Turbo-folk Music 35 Zala Volčič and Karmen Erjavec 3 The Gendered Face of Latinidad: Global Circulation of Hybridity 53 Angharad N.
Valdivia 4 E-Race-ing Color: Gender and Transnational.