The poem “Why Am I So Brown?” by Trinidad Sanchez Jr. uses metaphors in order to put across his meaning of Chicano pride. Metaphor is a comparing to completely two different things but someway connected. He compares bronze and roots to skin color. These comparisons give Chicanos pride because they are connected to bronze and roots. Sanchez states, “God made you brown mi’ja color bronce” (Sanchez 2.1-2).
Prior to arriving in UC Davis, I understood the word “Chicana/o” purely by its true definition; Mexican American. I always found the term to just be another word to classify a large group of Mexican individuals. The term appeared generic to me similar to Latino or Hispanic. Growing up in a small town that is largely Latino enclave, I would assume that I have some comprehension, however it seemed truant. It appeared that Mexicans always pride themselves with the word Chicano, however I thought otherwise.
The relationship between Chicanos and Central Americans is a unique one because there is often a misconception and racialization that Central Americans and Chicano are one in the same based on physical characteristics and the way their cultures have intertwined. As Alvarado mention in her article, mutual misrepresentation both groups have not been able to fully represent themselves as either Chicano/Chicana or Central American or perhaps a mixture of both. Both Chicanos and Central Americans for years have occupied the same places and have very similar customs leading to the generalization that all brown people are Mexican or of Mexican descent. As stated in Alvarado’s paper “The Central American borderlands include the isthmus through Mexico
There are many artists coming from different cultural, social, and economical backgrounds, but out of all these differences, inventive individuals go after a similar goal which is to make creative work. However, there is more to it than making works of art and that is finding purpose or discovering reasons to why the artist is making a piece. Artists may work on an art project that is intended for a smaller group of viewers while other artists may go for a larger audience and it generally comes down to what message the artist is trying to convey. Depending where an artwork is situated in can impact the way a viewer perceives a certain image; this is why it is important for artists to think about the space in which they want to exhibit their
Introduction Chicana or Chicano refers to an identity used by a certain community of Mexican-Americans who live in the United States. Most of the Americans born Mexicans do not like to be called Chicanos or Chicanas as they have a negative personality towards it. They take it as a refusal of identity since it is difficult to identify whether they are Americans or Mexicans. To them, it is a sign of discrimination as they are at times called ‘country less people’ (Doubleday, 1970).
In her novel Borderlands, Gloria Anzaldua explores the nuances and complications that come with being a member of the Mexican-American community. Her physical home is the border between Mexico and the United States, but she acknowledges that the “psychological borderlands, the sexual borderlands and the spiritual borderlands are not particular to the Southwest” (Anzaldua 19). “In fact,” she continues, “the Borderlands are physically present wherever two or more cultures edge each other…”(Anzaldua 19). Such is the focus of her text, the often uncomfortable meeting space between mainstream white culture in the United States and the indigenous culture of Mexico. The clashing of these two civilizations is personified in the mestizas, people born of both the United States and Mexico, of which Anzaldua is one.
The poem “To live in the Borderlands means you”, by Gloria Anzaldua perfectly describes how it is to live here in the valley and be Mexican American and how difficult can be for someone to try to fit in. I have seen how people have been judged only because they misspelled a word or because their accent. Even though those people are trying their best. Everyone should remember that we are equal and that we always should be proud of where we came from.
Gloria Anzaldúa's personal experience growing up in the Rio Grande Valley was inspiration for Borderlands, which was published in 1987. In this highly acclaimed work, she explores the effects of the Mexican-American border on her self-identification as mixed race, Chicana, a woman, and a lesbian. Shunned from each of these groups, Anzaldúa creates a new mestiza identity which both allows for and encourages a synthesis of disparate elements of identity into a synergistic whole. A mestiza is a woman of mixed Caucasian, Hispanic, and Native American descent. This consciousness which encourages opposition and contradiction is made necessary by the conditions created by the geographical, political, and psychological border.
All most the whole thing compares. I still went to St. Louis and visited my aunt and uncle. I saw my cousins and we went to Cracker Barrel. When we got there we played the potato game. The next day we were going to go to Chimichangas but there was a big line, so we got dominos.
Large portions of group’s made up by minorities with a wide range of ethnicities started to arise by help of the civil rights movement from the early 1950’s through the 1990’s. These different type of groups advocated for appropriate education, uniform pay rates, to cease racism, and parallel rights for all citizens. The group of minorities brought attention to their problematic issues by participating in marches, protest and boycotts. For example, during March 1968 in East Los Angeles Chicano students protested for suitable educational facilities, the deficiencies in proper school supplies, and curriculum change to include Chicano history and culture. Another instance on how groups formulated by minorities obtained the public attention for