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Copyright of Latino Studies is the property of Palgrave Macmillan Ltd. and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The paper explores the use of ethnicity as a strategic tool in the politicization of the Mexican diaspora in the United States of America in the late 1960s and early 1970s. Referring to the example of the 1969 founding manifesto entitled "The Spiritual Plan of Aztlán" (El Plan Espiritual de Aztlán), it pays attention to the ways in which a section of the Mexican diaspora in the United States -- Chicanos -- came to identify themselves with the indigenous peoples of the United States and Mexico in the construction of their new collective identity. The text further examines the symbols of the Aztlán and the Bronze Race, the meanings attributed to them, and the question of authorship. In doing so, it draws on the interpretive frameworks of S. Hall, B. Anderson, R. Barthes and M. Castells. It concludes that the manifesto represents a highly selective, strategic narrative which mirrors both the Chicano movement's claims for recognition in the US and the ways the Mexican diaspora interpreted its past to serve its current and future goals between the 1960s and early 1970s. [ABSTRACT FROM AUTHOR]

Copyright of Latin American & Latinx Visual Culture is the property of University of California Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Testimonios are used as a method to help understand and share the authors' lived experiences as tocayos with society and the human world, and to create interaction between both of them. The term tocayo is used to identify people who share the same name. The purpose of this paper is to share the lived experiences of and give meaning, understanding and knowledge to a tocayo epistemology. Tocayo epistemology is strongly linked to emotions, is based on prior learning experiences, is influenced by reflection, and happens through social interactions and through the work of the individual mind. Tocayo epistemology depends upon understanding the self, and seeks multiple perspectives to uncover complexity, ambiguity and change to empower the self and Others. [ABSTRACT FROM AUTHOR]

The paper dwells on the traditions of Mexican and Mexican-American ballads called “corridos,” such as “Ballad of Gregorio Cortez,” in the novels of Texas writer Rolando Hinojosa. Corrido that emerged in the XIX century and continues developing today is a unique phenomenon of Mexican and Mexican-American literature. It serves as a worthy material for understanding the problems of cultural interaction, cultural border and multiculturalism. The paper aims at defining the role of corridos in the fictional world of Rolando Hinojosa, the novels “The Valley” and “Klail City” were taken to be analyzed. It gives a brief overview of the genre development based on the key works of the top scholars who study corridos in Russia and abroad. The article also dwells on the creation of the corrido about the folk hero Gregorio Cortez. There is a hypothesis proposed to explain Hinojosa’s decision to opt for the Mexican ballads: the writer was averse to the didactic and propagandistic ideas of Chicano literature of that time which prompted him to use corridos as a means of the hidden moral. Traditional corrido motifs such as revenge, injustice and social inequality are analyzed. The article concludes that in Hinojosa’s polyphonic and fragmented novels, corrido type stories perform plot-forming and compositional functions, direct the reader’s perception.

This article examines the multiracial politics of the Mexican American diaspora in the Pacific Northwest during the 1970s. In Seattle, Washington, Chicanos countered their small demographic presence and the city's lack of a barrio through cross-racial solidarity. Activists built alliances with African Americans, Asian Americans, and Native Americans and used the political power of multiracial unity to mitigate the struggles of ethnic Mexican farmworkers who relocated to Seattle. Facilitating this process, Seattleites of Mexican descent redefined "la raza" (the people or the race) to mean "all the people," merging aspects of cultural nationalism with interracial politics. In turn, Seattle's Chicano Movement helped bring community-led social services to numerous communities of color in the white-dominated city. [ABSTRACT FROM AUTHOR]

Padre Luís Jaramillo was a Catholic Diocesan priest who, for over years 60, served numerous communities and was pastor to the Chicano movement in New Mexico as it converged between southern California and Texas. Committed to Chicano self-determination and social justice, Jaramillo was a member of the Black Berets and a founding member of La Academia de La Nueva Raza (1968-1978), a group of scholars, community members, and activists who developed an educational model that responded to the needs of Chicana/o communities through Chicana/o-centered historiography and lived experience. This essay introduces Jaramillo's newly accessioned archive to elucidate how, in the 1970s, he enacted the principles and pedagogy of La Academia through a form of resolana with his parishioners at Our Lady of Guadalupe Catholic Church in Taos, NM, an important place of sanctuary. The digitization of Jaramillo's underscores the significance of recording Indo-Hispano practices of shaping collective memory and knowledge production through lived experience. [ABSTRACT FROM AUTHOR]

This essay reconsiders Acosta’s relationship to the 1960’s counterculture by demonstrating the central role of psychedelic rock music in The Autobiography of a Brown Buffalo and in its vision of Chicano identity. While scholars have long debated this question, nearly all of this criticism sets up the counterculture and the emerging Chicano movement in opposition and then seeks to determine to how successfully Acosta’s novels break from the former in order to join the latter. I will argue instead that the moments of rock music in the text, and the transformative visions that accompany them, are the most dramatic moments of what Ranciere calls "the redistribution of the sensible." The novel’s general interest in making hyper-visible the importance of color and by extension the existence of the Chicano body, furthermore, follow directly from Acosta legal strategy in defending the East LA Thirteen to establish that the Chicano was incorrectly classifed in official discourse as white.

Martín Ramírez (Jalisco, Mexico, 1895-California, 1963) was an undocumented immigrant who, after leaving his family--from which he disconnected--in Mexico, lived in confinement in psychiatric hospitals in California for thirty years until his death. He suffered from severe schizophrenia, aggravated by mutism and periods of catatonia. Painting was proposed to Ramírez as therapy, and he created images with extensive walls, trains, buildings, and Madonnas using nontraditional materials--saliva, trash--in addition to paint. Since he lacked formal training as a painter, the academy defines him as a folk artist or outsider. Mexico and the Chicano community do not claim his as their own, nor does the US cultural community, in part due to his lack of intellectual interaction with them. Museums have scarcely been interested in his work, and the main ones clamoring for it have been collectors, marchands, and auction houses. This article analyzes Ramírez's place in the artistic canon, his cultural identity, and the artist as a human being. It studies his work, fundamentally available on the internet, which functions as a precarious and transient, but also massive, museum. [ABSTRACT FROM AUTHOR]

Tomando como punto de partida diversas teorías sobre la monstruosidad en la frontera México-EE. UU (Alemán 2006; Miller y Van Riper 2012) y referentes de lo monstruoso-femenino (Kristeva 1983; Creed 1993), este artículo pretende analizar From Dusk Till Dawn (Robert Rodriguez, 1996) como un mosaico transcultural reconvertido en alegato sobre la aceptación del “otro” a través de la monstruosidad de su protagonista femenina. This article analyses the concept of the monstrous feminine entrenchment through Robert Rodriguez’s From Dusk Till Dawn and Planet Terror. Drawing from current socio-political imaginaries that have put the spotlight on the oppressed power across women in film, the insertion of horror and the monstrosity in their narratives display a transnational process that reflects cinematic U.S.-Mexico border discourses.

This article understands the US-Mexican border not only as a border between nations, but as a border between denominations. Chicano literary texts show how (mostly) Mexican Catholicism and (mostly) US-Protestantism are both transcended into a third, unique religiousness that does not completely reject neither old nor new, but constructs an identity of one’s own – a transborder and transdenominational identity. Various denominational and religious references on different narrative levels serve the authors as literary means to transform the line that separates into a fruitful, identity-founding space. This article aims to add a new perspective to border discourse by approaching it through the literary analysis of religious, and mostly denominational, references. It amplifies the discourse of border and religion by tracing denominational elements in two literary cycles – José Antonio Villarreal’s unfinished tetralogy and Rudolfo A. Anaya’s New Mexico Trilogy – and by mapping their narrative functions. These denominational references are used to transcend religiousness and play a vital role in the literary development of a transborder identity.

One would consider Chicano literary figures Luis J. Rodriguez and Richard Rodriguez to be very different writers and from the opposite political spectrum. But there is common ground, too. For myresearch on Turkish-German and Mexican-American literature in comparison, I visited various authors and activists to tell a story of belonging and participation in contexts of migration. The essay Between Chicano Marxist and Catholic Thought is based on meetings and interviews with the Chicano veteran Luis Rodriguez in Sylmar and the homme de lettres Richard Rodriguez in San Francisco. Luis Rodriguez grew up in a barrio in L.A. where he got involved in gang violence at a very young age. Chicano activism and poetry showed him a way to understand social and racial structures of injustice and helped him to overcome his own patterns of toxic behavior. In contrast, Richard Rodriguez attended a Catholic High School, was able to pursue an academic education and became a sophisticated writer. His views on bilingual education and Affirmative action made him infamous within the intellectual Chicano community.

Remarks shared at the Chicana/o-Latina/o Law Review symposium, “Un/Masking Power: The Past, Present, and Future of Marginal Identities in Legal Academia."

From their inception, names—including first names, surnames, names of groups, and even story, book, and academic article titles—are embedded with meaning and coded with identity, and over time, they become layered with nuance and memory. In 1992, when I wrote my original article, I named it “Máscaras, Trenzas, y Greñas,” using Spanish to embed a rhetorical signal to the reader that s/he was being invited into the lived experiences (and legal reasoning) of a Latina. The first of several narratives begins with me as a seven-year-old child in Las Vegas, New Mexico. Thus, the article begins in “Brown space”—that is, the location, the perspective, the idioms, and the cultural references are intentionally racially and ethnically “Brown,” with skin color and phenotype serving as a synecdoche for the Latina/o racial category.

Foreword and Editor's Note for Volume 32, Issue 2 of the Chicana/o-Latina/o Law Review.

Dean Moran provides opening remarks to the Chicana/o-Latina/o Law Review symposium, "Un/Masking Power: The Past, Present, and Future of Marginal Identities in Legal Academia."

What a pleasure and honor to be celebrating the historic work of my sister-colleague, the sublime Margaret Montoya. It is doubly meaningful that this symposium is so thoughtfully coordinated with the one tomorrow, honoring the amazing Mari Matsuda. Events like these truly induce writer’s block, as the momentous import of the occasion seems to overwhelm our mere mortal ability to articulate an appropriate level of insight and wisdom that might even approach the original brilliance of a piece like Máscaras. Forgive me in advance, as I am certain I will fall short in such a tall task.

I am going to stand in tribute to Professor Montoya and her family and to the Chicana/o-Latina/o Law Review, which brings us to this point where we are considering and celebrating Professor Montoya’s Máscaras, Trenzas, Y Greñas: Un/Masking the Self While Un/Braiding Latina Stories and Legal Discourse, twenty years after its initial publication. Professor Montoya’s article is timeless.

We celebrate Margaret E. Montoya’s Máscaras, Trenzas, y Greñas as a canonical article in critical race theory because its deft interweaving and unbraiding of stories helps us consider the marginalizing assumptions of the legal world, the way normativity translates into authority, and the means by which the mainstream is disguised as unbiased. She does these things effectively through an exercise of courageous candor that lays bare the kind of feelings and thoughts that we usually keep to ourselves or only share with intimates.

Remarks shared at the Chicana/o-Latina/o Law Review symposium, “Un/Masking Power: The Past, Present, and Future of Marginal Identities in Legal Academia."

From their inception, names are embedded with meaning and coded with identity, and over time, they become layered with nuance and memory. This was the first and last sentence in the reflection I wrote in 2013 to mark the twenty years that had passed since I wrote the article, Máscaras, Trenzas y Greñas: Un/Masking the Self While Un/Braiding Latina Stories and Legal Discourse, which was the focus of the symposium volume in which this essay now appears.We, the collaborators in the ongoing Name Narrative projects that are described in this short article, are three Latinas and one Native woman: Irene found Name Narratives to be a salient pedagogical tool in her Introduction to Chicana/o Studies course in Fall 2013. Diana and her colleague, Jeannette Stahn, have used the Name Narrative tool with administrators, teachers and students. Diana and I are a mother-daughter pair who have worked side-by-side in different settings, more recently creating opportunities for storytelling about names and identities.

This essay is based on a presentation made as part of “Un/Masking Power: The Past, Present, and Future of Marginal Identities in Legal Academia,” a symposium sponsored by the UCLA Chicana/o-Latina/o Law Review, April 5, 2013.

The abstract is included in the article.

Copyright of Estudios Humanisticos. Filologia is the property of Universidad de Leon, Area de Publicaciones and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Latinos are now the largest group of students who begin their postsecondary studies at a California community college after graduating from a public high school. This represents an opportunity to improve bachelor degree attainment among Latinos via the community college transfer function. This research brief describes current transfer rates among Latinos, reviews the literature on the barriers to transfer, and concludes with a cohort analysis of Latino community college students that describes their demographic profiles, coursework patterns, transfer readiness and outcomes. The author concludes that California’s community college system is not close to reaching its potential as a stepping-stone to four-year colleges and universities for Latino students.

Latinos are the fastest growing racial ethnic group in the nine-county San Francisco Bay Area and now constitute 21 percent of the total population. Their representation among K-12 public school enrollment is even higher at 30 percent. Despite this, few studies have examined how well the Bay Area is preparing this group of students for entry into the state’s public four year colleges. This research brief explores college preparation in each of the nine counties that consist of the Bay Area and finds that Latinos trail behind non-Latinos in two major indicators of college preparation (completing the A-G course requirements and taking the SAT as high school seniors).

During the past two decades, critics have taken an interest in explaining the ideological ambivalence expressed in Chicana/o literature. Most critics correctly point out that Chicana/o ambivalence cannot be separated from the conflicted material realities historically experienced by Mexican Americans, but this view has not prevented some critics from tiptoeing into the idealist terrain of postruodernism. Postmodernist theory has provided Chicana/o criticism with conceptual tools for explaining the heterogeneity of culture, but its antagonism toward history and class analysis has limited the potential for Chicana/o studies to develop an effective social criticism. Two postmodernist terms used to describe ambivalence are "cultural schizophrenia" and "heterotopia." Historical materialism -a method that makes truth-claims about social existence after a rigorous critique of the concepts and ideas that emerge from that existence - stands as a - viable alternative to postmodernist theory for the interpretation of Chicana/o literature.

Abstract: This paper presents an analysis of three Chicano novels considered canonical, in which the concept of “hybridity” is discussed in relation with the individual: Rudolfo Anaya’s Bless Me Última, Tomás Rivera’s …Y No Se Lo Tragó La Tierra, and Rolando Hinojosa’s Los Amigos de Becky. The paper proposes an additional application of “hybridity”, key concept of Cultural and Postcolonial Studies, in the cultural context of the Chicano identity. The final aim is to prove, by means of the texts, the interaction between the individual and his/her context via their “hybridity” as a resulting phenomenon of a cultural multiplicity. Keywords: Chicano, novel, hybridity, individual, cultural context. Resumen: Este trabajo presenta un análisis de tres novelas de autores chicanos considerados canónicos, en el que se discute el concepto de ‘hibridación’ y su interacción con el individuo: Bless Me Última, de Rudolfo Anaya, …Y No Se Lo Tragó La Tierra, de Tomás Rivera y Los Amigos de Becky, de Rolando Hinojosa. Se propone una aplicación adicional de “hibridación”, concepto clave de los Estudios Culturales y Postcoloniales, en el contexto cultural de la identidad chicana. El objetivo es demostrar la interacción entre el individuo y su contexto a través de la “hibridación” como fenómeno de multiplicidad cultural. Palabras clave: Chicano, novela, hibridación, individuo, contexto cultural

Las condiciones históricas y musicales de los pueblos chicano y cubano se correlacionan a mediados del siglo XX. Ambos ven en la expansiva influencia musical e ideológica de los Estados Unidos un peligro, mismo que denuncian a través de un artefacto cancionístico: una canción escindida. La estructura y lirismo de “Elvis Pérez” y “Debo partirme en dos” dan cuenta de la naturaleza dividida de sus autores, división que surge debido a su resistencia hacia el éxito e influencia del rock and roll de las décadas de 1950 y 1960, aprovechado por la maquinaria estratégica que el capitalismo emprende para inclinar la balanza a su favor durante la Guerra Fría. Los autores Lalo Guerrero y Silvio Rodríguez, como fundadores de sus respectivos géneros musicales, Chicana y Nueva Trova, ven en la canción un medio para manifestar su posición nepantlera, el acoso norteamericano, y el compromiso del autor con su arte y su comunidad.

Uno de los campos más importantes de la lucha de los mexicoamericanos contra la asimilación se ha dado en el campo del lenguaje, con una larga historia de avances, estancamientos y retrocesos que han acompañado la presencia chicana en Estados Unidos. Los años recientes han visto aparecer una tendencia que se ha dado en llamar retroaculturación, en que las nuevas generaciones de mexicoamericanos han estado revalorizando la cultura de sus antepasados. Dentro de este proceso de revaloración se inscribe un movimiento transnacional y transcultural conocido como Movimiento Jaranero, que reivindica las prácticas líricas y musicales del son jarocho, lo que ha traído aparejado la presencia cada vez más importante de versos originales en español como parte de esa resistencia cultural.