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[etst430brynneadams]

Module 13

Colonialism as well as modern capitalism function using a hierarchy of knowledge where one way of knowing and living, the colonist’s way, is designated as superior while other, indiginous ways of knowing are subjugated and made inferior. Knowledge in our world has been carefully  created to “construe Latino/as as social monsters” that must be controlled and removed (382). The imaginary creates a venue where Latino/as can transport and save “knowledge useful to their survival,” (383). Latinx Monsters emerge as the result of certain times, feelings, and places; it is a reflection and embodiment of culture. Over the last few hundred years five periods: “ 1) the Spanish conquest experience 2) 19th century US expansionism 3) 20th century interwar period 4) the World Trade Organization era...and 5) the millennium neo anti-immigrant nativist movements have led to the creation of five monsters: 1) La Llorena or the Weeping Woman 2) “The Dangerous Bandito” such as Joaquin Murrieta 3) Social monsters or “monsters within” such as the Pachuco/Zoot suiter 4) El Chupacabras or “the goatsucker” and 5) Zombies/Life suckers and La Santa Muerte respectively (384-390). These monsters remind Latinx people of their “vulnerabilities and trajectories of oppression,” (391). 

I have a very vivid memory of watching a Scooby-Doo movie that came out in the late 90s/early 2000s as a child where the antagonist is a Chupacabra. I knew that some monsters like Zombies represented deeper societal ills and fears (capitalism for the zombies), but I did not know that monster theory asserts they all come from deeper fears and issues. It actually makes a lot of sense when I consider the fact I knew the Frankenstein novel shows the scientist as the monster not the “actual” monster themself. I have also seen La Llorena in shows like Supernatural, but that characterize her as a sad, angry ghost that drowned her children in a tub. It makes a lot more sense now that I know she is really a protector of her children who cries because her children are lost to assimilation, violence, or prejudice. 

Scooby-Doo and the Monster of Mexico clip: https://www.youtube.com/watch?v=0UBRK1SwGXE

Chapter 34 discusses Narco Culture, its origins, important pop culture aspects, censorship, and relationship to death. Jesus Malverde is known as the “folk saint of the narcosphere,” (395). His story depicting him as a criminal who steals due to his economic status and for the other poor people makes him attractive to drug dealers due to his two personas as a helper and criminal that form to create one legend (396). Narco Corridos play an important part in narco culture as they show the realities of narco life through the lyrics while glamorizing it to the masses through the use of music and celebrity (397). Although there have been attempts to censor narcos corridos to help stop the glamorization of it by the masses, censorship of these songs risks further censorship by the government against anything someone says that the government doesn’t like (399-400). Narco cinema portrays how “inescapable” the “underlying violence and kitsch and machismo culture” of narco culture truly is (402). Death, particularly La Santa Muerte, are also very important parts of narco culture. To be a narco trafficker is to be betrayed or dead; it is a completion of their character (405). There is an “intrinsic morbidity” of narco culture: “drugs may be the matter, death is the art” (406). 

A Narco Corrido: Los Tigres Del Norte - Contrabando Y Traición https://www.youtube.com/watch?v=1ocd-A-lItU

I found this chapter really interesting and a very engaging read due to the author’s tone and unique voice. Their writing style is how I would write most of my academic writing if it was allowed: funny, personal, but on point and well supported. It was hard to summarize because I felt like the author was just going over some important aspects, movies, songs, and artists of narcos culture without a specific overall argument (as he stated there wasn’t really a thesis). Overall, I learned a lot about Narcos origins and culture that I did not know before. 

Chapter 35 explores the history, role, and portrayal in media of coyotes, or “the men and women who for a fee...facilitate the extralegal journey of migrants into a country or countries different than their own,” (414). Their presence precedes the arrival of the Spanish colonists; coyotes were considered male gendered snf the “trickster-culture hero,” (415). Like the pre-colonial understandings of coyotes, smuggling today is  highly gendered with women performing historically female tasks at much higher rates than males (417). Colonial religious perceptions brought about the idea that coyotes are evil (415). This is further reiterated by mainstream media who sensationalize irregular migrant deaths and criminalize coyotes through news stories and movies (418-419). Through these portrayals, the US government has been able to frame the migrant body as “damaged, weak, and disposable” while also reinforcing the stereotype that Latinx people are criminals (419). Today the coyote is marked “by people’s collective anxieties over the presence of those who are forced to be on the margins” due to their mixed heritage or because they perform the tasks no one else will do (421). 

This chapter was really interesting. I didn’t know the smugglers were called coyotes prior to this. I did, however, know about the tragedy in Victoria where 19 migrants died. I wanted to know where the female coyote smuggler was today since according to the chapter her prison sentence ended in 2020. I couldn’t find anything specifically on her and whether or not she is still in prison. I did find an article about the annual memorial held for those who died that day. The tragedy has impacted the community in a lot of ways, and I am happy that while the rest of the world has moved on, the residents of Victoria have not.

https://www.victoriaadvocate.com/news/local/annual-memorial-honors-death-of-19-immigrants-16-years-later/article_ec809dee-79ab-11e9-9a8b-f3e245883cbe.html

[etst430brynneadams]

Module 12

Chapters 29 and 30 explore Latinx representations and experiences with American sports at the amateur and professional levels. Like most other American institutions, American sports have long histories or racism and discrimination (334-335). Scientific racism branded Latinx people as athletically inferior attributing the reasoning to physical and emotional characteristics (346). This rhetoric kept many people of color, including Latinos, from participating in professional sports during the early 1900s (). Over the last sixty or so years Latinx athletes such as baseball player, Roberto Clemente, have paved the way for increased diversity and inclusion of people of color (337). In Latinx culture a lot of importance and emphasis on sports is not always placed due to the idea that it is recreational not work (336). Sports dedicated media such as ESPN have greatly contributed to the popularity and visibility of pro sports and its athletes (340). These programs recognize the importance of the Latinx fan base and attempt to appeal to them through things like Spanish programming (342). 

The author of chapter 30 has done extensive research on the history of Latinx amateur athletes. In the south during the 1900s Mexican Americans used baseball for community and union building as well as to get job opportunities (346). There is also a long history of Latinas playing baseball and softball (346). Football has always been popular, but the absence of many Latinos from high school kept their participation low until the post WWII era (347). Local youth sports programs like Catholic Youth Organization basketball leagues attempt to teach kids important skills while keeping them out of trouble (). The author believes programs like these and amateur sports play a larger role in contributing to Latinx culture and transforming demographics than professional sports (369). 

Roberto Clemente’s Baseball Hall of Fame page: https://baseballhall.org/hall-of-famers/clemente-roberto

Chapter 31 explores the combination of the secular and the saint, particularly Santa Muerte and her devoted followers, in the borderlands and how it is a diverse practice. When people devote themselves to saints they enter into a sort of intimate give and take relationship where power is not necessarily equal between the parties (358-359). A “secular saint” is any cultural figure that goes through a “process of popular canonization” and “[highlights] the juxtaposition of sacred and profane,” (359). They act as intermediaries between heaven earth that humans feel a closeness to where intimate, personal relationships can form (360). Santa Muerte, the saint of death,  is a secular saint. Many of her followers view her as a mother, close friend, and confidant and speak to her in this way. She is not worshipped for her purity or sanctity but for her  “accessibility to masses…and resistance to the powerful forces of the state (364). She is so relatable and adored because her duality of good and evil is inherent in all humans and her ambivalence still represents the choices that are often denied to her marginalized devotees (368). 

A Santa Muerte altar 

A Santa Muerte tattoo

I had never heard of Santa Muerte and her cult before reading this chapter. I thought it was super interesting and cool to learn about another example of syncretic religious practices that resist the colonized religious ideologies. I think a lot of times religion can make people feel ashamed for a lot of things that are really just a part of the human experience, and it’s really nice to see a religious figure that people can tailor to provide them the comfort and faith they need.

[etst430brynneadams]

Module 11

Rockabilly is a music style that combines elements “of white country music with black R&B” made famous most notably by Elvis Presley (302). Today, Latinos/as are a massive portion of the Rockabilly scene. In L.A They have transformed the scene to create a space to challenge and transform the gendered and racialized ideologies commonly associated with the genre. This transformed Rockabilly is known as Razabillu (302). Robert Williams and Vicky Tafoya are two artists that have dominated the genre with long, illustrious careers (303-305). 

Big Sandy And The Fly-Rite Trio - Thru Dreamin': https://www.youtube.com/watch?v=RhzFFFH0GuI

Vicky Tafoya - Forever: ​​https://www.youtube.com/watch?v=Q3WgfNTfMmw

Chapter 27, Bodies In Motion, describes the artistic form of resistance known as Rasquahismo. Rasquachismo is a particular sensibility specific “of the poor and excluded,” (312). It creates an unique aesthetic formed from the experiences of Chicanos. For something to be rasquachismo it should be something that was made out of nothing or something new made of something old (312).  Rasquachismo is an alterNative aesthetic that includes themes of decolonization as well as different cultural perspectives that challenge colonial narratives (312). The Big Girls Code and Crafty Chica are two examples of rasquachismo art that subverts “the consumer ethic of mainline culture” (318). 

Crafty Chica: https://craftychica.com/

Chapter 28 explores Latinx fashion, “what one wears,” and style, “how one wears ‘the what,” (323). Macías, the author, argues the historical fetization of Latina women and “neoliberal marketing of racialized...excess” has led to Latinas manipulating and reimagining the identity representations forced upton them to create “Racialized Rasquache Raunch” (323-324). This fashion and styles allows Latinas to “legitimize [their] expressions and desires” that potentially do not align with that of the colonial narrative (324). A defining aspect of this style is rasquachismo, turning something old into something new, through thrifting and deal hunting (324-325). Through self-expression and creation of fashion and style Latinas are able to act as “critical sites of Latina cultural politics that legitimate [their] aesthetics” while countering “hegemonic norms” forced upon them (332). 

I really enjoyed these readings. I am super interested in sustainable fashion and developing my personal style, but a lot of the stuff I read about it is very capitlaism and marketing driven. I really enjoyed learning about how Latina women utilize rasquahismo aesthetics to create their personal style. Their fashion and style methods resist the fast fashion model that encourages one time use of cheaply made clothing. Clothes and style are such an important part of one’s identiy and self-expression, and it is important the ethics and values in the production process reflect that of the wearer.

[etst430brynneadams]

Module 9

Chapter 23 focuses on Lowrider culture, it’s ties to gendered roles and masculinity, and it’s ability to create community in “publics,” (268-269). These publics are spaces where people who have commonalities gather to deliberate and socialize sometimes to arrive at a shared understanding or commitment (269). Lowriding is very much tied to hyper-masculinity which can be seen in Low Rider Magazine’s portrayal of women. Despite this, women still engage in low rider culture by creating space for themselves either within the male dominated spaces (using LRM as a means to connect and share ideas) or by creating their own space (women’s low rider clubs) (274-275). Overall, despite its issues lowriding provides a space where, “family, neighborhood, creativity, commitment, and other imagined potentials or lived relations overlap and coexist,” (276).

Low Rider Magazine: @lowridermagazine on Instagram

Chapter 24 explores how modern Quinceañeras in America combine the secular with pop culture and consumerism to create an event that allows Latinx youth to connect with their heritage while also establishing their identities in youth and class contexts. These events have “two spiritual benefactors,” the Catholic Church and the pop culture industry,” (280-281). The three TV Quinceañeras presented in the chapter show how there has been a movement away from the shame and morality regarding sexuality perpetuated by the Catholic Church. Now the parties are, “ephemeral cultural reference points that signal certain identifications and dis-identifications with ideas influencing conceptualizations of social citizenship,” (282). These events still function as a coming-of-age event that connect you to your family and culture, but they also function as an access point to “retroacculturation,” the consumer tendencies of predominantly second, third, and fourth generation Latina/os, who are described as feeling as though they “have lost their cultural identity,” (283, 288-289).

Growing up my first exposure to Quinceañeras was on Wizards of Waverly Place when Alex has hers. She is very removed from her Mexican heritage and is very reluctant to have the party but ultimately goes through with it to please her mom. That episode did not explore any of the religious or sexuality aspects of the event. Even though I am not Latina I can relate to the feeling that the Church’s role is to shame them into “good” behavior. I

Wizards of Waverly Place, Season 1 Episode 20: https://www.dailymotion.com/video/x5m3sw9

Chapter 25 focuses on joteria, “the broader perspective about the intersectional issues and concerns of queer Chicana/o, Latina/o, and indigenous people,” in pop culture by evaluating several Latinx joteria icons, characters, and works of art. Joteria also extends to the allies of this community (297). This can be seen in the song “Era Diferente” by Los Tigres del Norte (297). “Coming out of the closet,” is not very common in many Latinx cultures because opposite of the U.S. perspective that designates announcing your sexuality as a rebirth Latinx cultures view it is a personal event like going to the bathroom (291-294). However for every individual the journey to self acceptance and public annunciation looks different. Although there is the perception that Mexican culture is very heteronormative, it does not come from the culture it comes from learned behaviors which is why education on the topic is so important (298). Joteria culture representation in media is still lacking but over the last few decades icons such as Ricky Martin and movies like La Mission have emerged to create the space for joteria that was much needed.

Los Tigers del Norte, Era Diferente: https://youtu.be/Zl46EHJXfjs

Ricky Martin, Livin La Vida Loca: https://youtu.be/p47fEXGabaY

It was really interesting to learn that “coming out” is not a universal thing that LGBTQIA people do. I knew that heterosexuality was the norm among many cultures but not all so I guess just assumed that most people had to announce it. Obviously that is not the case, and I honestly agree with the perspective that it’s not a big deal and is private. I am bisexual. Although it does affect my life in a myriad of ways, when I discovered this about myself it was not a feeling of rebirth and it is one of the less important identities I hold for myself.

[etst430brynneadams]

Module 8

Chapter 20 focuses on Chicano photography as a means of activism and developing alternative narratives that portray Chicano/as beyond their racialized stereotypes (226). Montoya is a Chicana photographer that uses personal realities to “interrogate traditions of visual representation...that marginalize…Chicano[s/as]” (227). She accomplishes this by revising popular and religious icons with the “everyday Chicano/a body” through “collaboration, role-play, and parody,” (see La Guadalupana) (229). Montoya undermines patriarchal principles often seen in Western portraiture through her depiction of “strong women, often against type, in domestic and non-domestic settings,” (see La Familia) (231). She uses “honorific portraiture” and the “documentary mode” to honor her subjects without dismissing the “historically repressive trait of the portrait,” (235).

La Guadalupana by Delilah Montoya

La Familia from El Sagrado Corazon by Delilah Montoya

Chapter 21: The United States loves Mexican food while at the same time has an extreme hostility towards the presence of Mexican people (239). “Farm-to-Table” Mexican-inspired cuisine has the ability to decolonize food pathways and narratives (240). This farm-to-table method must include the communal access to resources, a focus on local produce, and ensuring the farmers who grow and harvest the food’s well being and livelihood are taken into consideration (242-243). Mainstream farm-to-table is often only concerned with the health and well being of the consumer and the quality of produce; the farmer is left out completely (243). The author argues for a decolonization of haute cuisine. Most anglo chefs who cook Mexican food tell “found Mexican story” as if Mexican cuisine was ever lost or needed to be saved (247-248). While these narrative are spread, the native knowers are left out and not given any credit for their culinary knowledge (249). The author believes this must be stopped and decolonial Mexican cuisine must challenge the “logic of domination in..food chains...and fight against the exploitation of land-based...communities of color,” (250). 

Chapter 22 explores Latinx and indiginous ways of healing and medicine. In recent years it has come to be more accepted in public domains as more and more people are looking outside the pharmaceuticals of Western medicine for methods of healing and well-being (256-257). An interview between the chapter author and the authors of Decolonize Your Diet: Plant- Based Mexican-American Recipes For Health and Healing reveals their journey from starting a garden to explore their ancestral food to today where they advocate for a restructuring of the global economy to remove profit from food (260). These non-Western based practices do require extensive research but not the kind typical of Western medicine. These practices have a high regard for “timelines” of an action rather than relying on a calendar with specific dates and times as well as a high focus on mental well being instead of just physical (260-261). Western medicine tends to “treat” rather than “prevent” often leading to late diagnoses while indiginous practices use a more holistic approach that goes beyond medicine and connects one with their body (264-265). 

I really enjoyed chapter 22 for a few reasons. The first is that I am very interested in alternative medicine/ways of improving my health and well being. I find the common eat healthy (what does that even mean?) and exercise (I hate the gym) to be very unhealthy. I do however enjoy plants, gardening, and cooking a lot, and I want to learn more about using food to take care of myself. In addition, I love seeing Restorative Justice in reading like this because I usually hear about it terms of an alternative for the criminal justice system and not a way of healing. I am studying RJ for my thesis next semester, and I am happy I got to read this chapter as part of my research is on the indiginous roots of RJ and community building circles. 

[etst430brynneadams]

Module 7

Chapter 17 states Latinx popular culture is “rooted in folklore and the everyday people, whose culture and traditions resist social domination of those in power,” (191). This creates a way to evaluate the various “levels” Latinx artists construct hybrid collective and individual identities on (191). The author does this by evaluating the work, history, and impacts of the Har’d Life Arts Collective in New York City. Mexican American popular culture is influenced by, “the canonical culture of the United States...Latin American visual culture...and Latino culture,” (193). The art created in the Chicano movement was influenced by “transcreation,”the exchange between Mexican and American cultures both in Mexico and the U.S., that led to a “border mestizo culture” still seen today, particularly in New York City (194). Graffiti is a form of this. It can be traced back to Mexico with strong ties to hip hop, and it functions as a way to build identity and community (195). Har’d Life is the center of an underground culture and have been able to create a space and community where Mexican Americans can express themselves and resist capitalism and oppression (199-200). 

Latinx pop art has been excluded from the modern field of contemporary art and is often defined as “ethnic” or alternative” removing it from the American mainstream due to the impression the values of the two are incompatible (205). Latinx people counter this narrative and exclusion and celebrate their culture through their art (205). Modern Latinx art is characterized by the many sources, time periods, and languages the pieces draw from and are influenced by (205-206). Many artists resist white supremacy and self-create through their art by making connections between their indiginous heritage and pre-Columbus times and modern American culture (207). Much Latinx art is political as their exclusion and oppression in America is political (208). These artists question and critique American and Latinx ideals, systems, companies, and norms through things like graffiti, indiginous imagery, and by altering already well known images (see Sun Mad and Our Lady) (208-209). Through their art they are able to alter people’s perspectives, create awareness, create safe spaces, and challenge problematic aspects of both Latinx and American culture (210). Latinx pop art is extremely “malleable” which allows it to grow and change to better represent and express the diversity of what it means to be Latinx (212). 

Chapter 19 focuses on installation art and how transnationalism and multicultural values are portrayed in them by Richard Lou, a Chinese-Chicao artist from the San Diego/Tijuana border region (214). Lou’s work, Stories on My Back, depicts “transnational identity,” “experiences of transcultural passage,” and “transnational resistance” (214-215). These three things are increasingly relevant and important in our globalized capitalist world where the emphasis on economy reduces the prominence of the arts (214-215). Popular oral culture such as Lou’s work is critical for understanding communities of color and critiquing colonial hierarchies of knowledge (216). “Intentional and public” recollections of memory are important for communities of color because they decenter and challenge white patriarchal culture and calls attention to systemic racism and exclusion (217). Lou’s work tells his family’s history of “migration, displacement, and belonging” (223). Such narratives represent the larger story of people and the transnational flow of people and capital and how white supremacy ideals impact people of color (223-224). ]

Crosstown Arts video on Stories on My Back: https://crosstownarts.org/calendar/richard-lou-stories-on-my-back/

I enjoyed this weeks readings a lot. I do not hear much about popular art in general let alone Latinx popular art (which makes sense after reading). I had seen the “Our Lady” before, I had never heard the context or story behind it. Although I am not Latinx, I was raised in the Catholic Church. I had to deal with a lot of shame, toxic masculinity, and misogyny that revolved around sex and women in the Church. I find “Our Lady” to be really powerful because it presents feminity and women in a graceful, elegant, and sexual way that is actually empowering (in contrast to the over sexualization of women in mainstream media that is branded “empowering” when it is actually harmful and catering to misogyny/the male gaze).

[etst430brynneadams]

Module 6

Chapter 14 discusses the role Hip Hop has in Latinx place-making, identity creation, and resistance to white supremacy. Latinx hip hop often explores “alterNative” perspectives that challenge racism and see the “root of injustice” as colonialism as well as connecting to indiginous roots (163, 165). Much of the music is shaped by “the prison and settler colonial justice” systems and function as an avenue of place-making and claiming (168). Chicanx “street hop emcees” develop “loco episteme[s]” that attempt to defy the systems and critique barrioization (168). Many of the narratives revolve around the “street” which is where the youths interact with the community, police, and each other and are often made to feel like they do not belong through criminalization. Appearing in the streets with the music playing allows them to claim and take up space in an environment they are made to feel unsafe and unwelcome in (170). Chicanx street hop resists and rebels against certain societal institutions but is not free from issues such as toxic masculinity and homophobia (171).

Kinto Sol’s “Hijos del Maiz:” https://www.youtube.com/watch?v=0GaNTBdqi5A\

Chapter 15 explores “Punk Spanglish,” the mixture of English and Spanish speaking used by young people (174). Punk Spanglish can manifest almost anywhere in any format whether it be online or in person and is considered “elastic, ethereal, and elusive” meaning it’s ever changing and intangible (174). The mid-1980s brought Spanglish into the mainstream where it was often considered “illegitimate speech,” (175). Punk Spanglish is very diverse and has many variations that can be seen in a plethora of mainstream media such as Dora, Sábado Gigante, and Livin’ La Vida Loca (175-176). The author of this chapter believes that Punk Spanglish is proof of the “vitality of human affairs” and shows how words are used to revitalize and express yourself in a way not possible before (178).

Chapter 16 explores how Latinx people use radio as a “vehicle for internal resistance,” (179). Internal resistance is resistance that may conform to structural norms but is “socially transformational” through its critique of oppression (181). Radio is an alternative media medium that allows Latinx people to promote and share their own epistemologies and confront limitations placed on Latinx “social and political mobility” through “collective knowledge production” (180). Spanish-language radio programs started in the US during the early 1900s as programmers and advertisers saw it as a great way to get minority groups behind the war effort (183). Despite this, the actual number of Latinx people working in radio professionally or as owners was very limited (183). These radio stations have the ability to create a sense of safety and comfort through familiar language, music, and pop culture for Latinx people, including those who are not here legally (183). Programming includes local, national, and global news, expert guests who give advice, and community building initiatives that aim to empower listeners through the creation of a “sonic space” where it is safe to “resist alienation” (184). Community is built in these programs through taglines, sharing information, and audience participation allowing Latinx listeners to resist white supremacy (187).

I definitely grew up hearing that Spanglish or any form of what my family considered “slang” was not proper or correct. Today, I don’t think there is such a thing as the “proper” form of any language. As mentioned in chapter 15, language is constantly changing and evolving. As soon as you define it; it changes. I think the creation of new words, dialects, and languages is a positive thing because it provides the ability for people to express themselves in the closest way to how they are actually feeling. There are not direct translations or even words for everything in every language. The combination of dialects and languages should be encouraged.

[etst430brynneadams]

Module 5

Chapter 11 explores how “performing mestizaje” for modern audiences creates “new aesthetic models to perform indigenous cultures and identities” for mainstream audiences (Ch 11, 132). La Danza Azteca is a hybrid of “dance, language, and traditional practices that resists the “impacts of colonialism,” (Ch 11, 136).  Performing mestizaje includes both conforming to the “Indian fantasy” while at the same time “interrogat[ing] colonial images...of the savage,” (Ch 11, 136). They are consumed by popular culture to, “share experiences and strategies for survival of a common global Chicana/o-Latina/o indigenous struggle,” (Ch 11, 139). 

Growing up seeing “performing mestizaje” in person at museums, resorts, and other public “random” places always made me uncomfortable because it seemed like appropriation and complete commodification of indiginous cultures. However, after reading this chapter I do see the benefits. It functions as a modern way of keeping the traditions alive, creating community, and also spreading awareness and education to non-Indiginous peoples about the variety and diversity of indiginous cultures. 

Denver La Danza Azteca group: http://www.grupotlaloc.org/

A performance by Grupo Tlaloc Danza Azteca: https://www.youtube.com/watch?v=suy5G6GFOXc&t=2s

Chapter 12, explores popular theater, grassroots community theaters, and pop theater, Broadway mainstream theater, and Latinx appearance and involvement in its creation and proliferation (Ch 12, 142). Traditionally. Broadway is very “exclusionary” and white with a few notable exceptions of Latinx actors gracing the stage but no Latinx productions (Ch 12, 143). Zoot Suit failed to cross from L.A popular theater to success on Broadway because of its mischaracterization as a musical prior to release and the Chicanx slang and narratives that failed to translate to white and Latinx East Coast audiences (Ch 12, 146-147). In contrast, In the Heights set in a NYC neighborhood contained “universal themes” while exploring immigration and upward mobility resulting in its massive success (Ch 12, 147-148). Latinx representation is necessary because it allows those who identify with the characters to imagine themselves in ways and capacities (Ch 12, 149). 

Chapter 13 focuses on Latinx spoken word poetry. The Black Arts Movement provided a framework for the integration of artistic mediums that lead to spoken word as well as “multiculturalist artistic and literary expression,” for communities of color (Ch 13, 151-152). However, Latinx spoken word emerged at relatively the same time and were “vital to...Nuyorican poetry,” (Ch 12, 152). The most common trait of spoken word is the “amplification of feeling,” (Ch 12, 155). From its inception spoken word was created and performed by marginalized groups within society and academia. The emotional, performative element allows for powerful, unique pieces of poetry to be created and shown in a way that is not possible for traditional poetry. 

Ariana Brown: http://www.arianabrown.com/

Ode to Thrift Stores: Ariana Brown - Ode to Thrift Stores (Official Music Video)

This week’s art mediums, theater; spoken word poetry; and performing mestizaje, are ones that I am not very familiar with. However, I do know about Broadway and major Broadway productions, and I had heard of Ariana Brown. I was aware how white and exclusive theater and traditional poetry are. The chapters have encouraged me to seek out non-white plays and poetry because I think the artistic mediums have the potential to show a new perspective or way of thinking about the Latinx experience.

[etst430brynneadams]

Module 4

Chapter 8 focuses on Latinx comic books. Comic books of the 20th century were largely censored by the Code Code; comic companies would follow this code and only produce “wholesome” comics (Ch 8, 102-103). However, this code did not protect against racist depictions of various ethnic groups (Ch 8, 103). As a result, stereotypes and depictions of Latinx people fell within those portrayed in cinema: thieves, latin lovers, dictators, etc (Ch 8, 103). This caused many Latinx creators to engage in the underground comic scene known as comix where they could create without censorship leading to many narratives to be a parody (Ch 8, 103-104). Today, there are a few mainstream Latinx comic characters such as White Tiger and Spider-man’s Miles Morales (Ch 8 105-106). Each has different degrees of actually incorporating that aspect of their identity with Morales being exceptionally bad as it is not mentioned at all (Ch 8, 106). Modern technology and new digital media are paving the way for the Latinx comic industry to grow as more and more people gain access to ways to create and an accessible audience (Ch 8, 107-108). 

Chapter 9 discusses the influence and appearance of Latinx characters and creators in the science fiction genre. The first appearance was in the 1960s during the Chicano movement, and in recent years the frequency of Latino/a actors in sci-fi media has increased (Ch 9, 110). Ramírez Berg posits that the portrayal of aliens as either good (those who assimilate) or bad is parallel to the way Latinx people are treated in America; you are only welcome if you assimilate into whiteness and we deem you good enough (Ch 9, 111). “Chicanafuturism” examines the impacts technology has on Mexican-Americans through exploring the use of science-fiction and as a way to challenge oppressive ideologies and colonization as well as explore futures that do not exclude Latinx/Chicanx people (Ch 9, 112). Caprica, the prequel to Battlestar Galatica, explored the racism and tensions between immigrants and the people who don’t accept them, but it was cancelled after one season. As a result, there is still a whole in mainstream media for science-fiction that accurately and respectfully portrays Latinidad. 

I enjoy sci-fi; although, I know more about the fantasy genre. I feel as though white creators of sci-fi who still ensure there is racial and ethnic diversity without incorporating any actual elements of those identities becuase in they are attempting to create a post-race utopia where humans are “beyond” that sort of thing. Although this is a nice sentiment, it ignores hundreds of years of history. It also glosses over the question of how did humans get there? To just ignore this large plot hole and minimize the identities of the characters shows the creators are writing from a place of privilege. As is the same with most of the problematic media we evaluate in this class, these choices and or lack of choices feels extremely careless and lazy, another indicator of privilege. 

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Module 3

After reading about all of the problems with Latinx children’s shows and media in the last two chapters, it was nice to read about some media that was (largely) unproblematic and reflective of true Mexican culture. I had never heard of the Book of Life prior to reading chapter 5. I really like that the creator showed a unique and personal to him dreamlike portrayal of being Mexican and Mexican culture (Ch 5, 72-73). I also really liked that the beginning of the movie with the the detention kids. It challenges the boxes, being bad and troubled kids, that American society often places Latinx and other children of color in which is often fueled by racism and stereotyping (Ch 5, 71). This type of messaging is important because children subconsciously internalize messages about themselves and people that look like them from the media they consumer

Book of Life first few minutes: https://www.youtube.com/watch?v=4oYkkl-IncY 

Chapter 6 focused on Latinx popular culture and digital media. Latinos use the internet and access digital media at high rate similar to that of their white counterparts (Ch 6, 76-77). However, studies show that structural and language barriers often keep out older, non-English speaking Latino (Ch 6,77). Individual Latinx brands such as Dulce Candy or Perez Hilton are good examples of how Latinx representation and media is easily changed and distorted to be more palatable for white people and more profitable (Ch 6, 78). Sites like Mitú offers a platform that is catered to Latinidad and allows Latinx creators to create and make money (Ch 6, 79). Although the website has many opportunities, it also has a reputation for taking advantage of its creators and using targeted advertisements to make money (Ch 6, 79-80). When large multinational corporations are involved it seems exploitation at some level is unavoidable despite the positive impacts the site does have. 

Mitú branded videos section: https://wearemitu.com/category/video/branded/

Chapter 7 was my favorite out of the three this week. I enjoy video games, and I think the research behind violence and the portrayal of women and people of color in many games is very interesting and often reflective of those who are making the games: mostly white men (Ch 7, 89). New technology such as mobile apps has made it much easier for Latinos to break into the tech industry and make games that center Latinidad while also opening the door for cheap, racist games from other small creators (Ch 7, 90-91). However, there are some modern and new games, many from Ubisoft, that focus on Latinx places and characters while attempting to maintain a high level of historical accuracy (Ch 7, 93-96). These games are not perfect, but they offer the potential for a new way to teach and immerse students in history when analyzed through an educational lens (Ch 7, 96). I really like this perspective. As a student it can be hard to picture the people and places all over the world across hundreds of years. Video games create an immersive experience that can give students the images and look into life there/during that time that cannot be so easily captured in a textbook. 

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Module 2

Chapter 2 of the Routlege Reader focuses on three films, Cesar Chavez (2014), Maquilopolis (2006), and Machete (2010). Each of them speaks to current economic and labor issues as they relate to Latinx/Chicanx immigrants and labor with varying degrees of authenticity and ability to create social change. Both Cesar Chavez and Machete do, “publicize collectivist ideas,” such as labor organizing and coalition building while still adhering to typical Hollywood storylines and tropes that appease the liberal ideology (Ch 2, 34-35, 41). Both of these movies had outside, capitalist influences that prevented true authenticity in portraying the Latinx/Chicanx labor struggle. Maquilopolis, on the other hand, was created and funded entirely by people committed to portraying the, “true ideals of political organizing,” expressed by Cesar Chavez (Ch 2, 38). They accomplished this through allowing women working in the factories near the Mexican/American border to “commandeer” the cameras and fully show their perspective (Ch 2, 37). 

After reading the author’s analysis of Cesar Chavez particularly the portrayal of the migrant labor struggle as Chavez, as an individual, against the world, I really had to reevaluate my ability to critically engage with media. I watched it not too long ago, and I completely missed how they alter his collectivist movement and beliefs to fit into the liberal/Hollywood narrative of the independent, bold hero even though I had just spent time learning about the historical reality of Chavez. This really detracts from the labor movement as there is strength in numbers, and organizing is truly the only way to create meaningful social change for the masses. Hollywood works with government entities, including the CIA (see their involvement in the Marvel franchise), to ensure the “correct narrative” is spread. It is unsurprising they would liberalize Chavez to repress dissent, organizing, and social change. 

Chapter 3 focuses on the inception of Latinx children’s programming. Early in the 1900s much of the children’s programming was directed toward the “white, heteronormative, middle class, nuclear family,” (Ch 3, 45). Sesame Street’s inception brought the first children’s show that was directly made to educate and target working class kids of color (Ch 3, 46). Through the mid to late 1900s, Latinx/bilingual children’s programing, such as Carrascolendas, was mostly made as education tools. Although, this tapered off as toys became the major push factor behind children’s content (Ch 3, 49). By the late 1990s and early 2000s you start to see ambiguously Latinx characters as well as a few explicitly Latinx characters (Ch 3, 49-50). Dora the Explorer (2001) was intentionally created as an educational, bilingual preschool children’s show (Ch 3, 50-51). Her world-wide success led to an influx of other children’s Latinx lead shows. Although, unfortunately manu companies like Disney do not take the time to learn about and show the vast diversity among what it means to be Spaniard/Latinx/Chicanx (Ch 3, 53-54). 

Chapter 4 focuses on the commodification of Latinoness and portrayal of the “trickster” from Puerto Rican folktales’ Juan Bobo in Dora the Explorer. Dora the Explorer presents of version of Latinidad that is more palatable, or white washed, for mainstream consumption (Ch 4, 60-61). Juan Bobo originated in oral tradition through performances where Bobo was used to teach children to think critically and independently (Ch 4, 63). Much of this folklore Juan Bobo comes from functioned as a “tool” of colonialism to teach Puerto Rican children English when it was put into print (Ch 4, 61). However, Dora’s King Bobo is a docile and childish adult who needs Dora to help him detracting from the original meaning of Juan Bobo. The media companies do this as a means to make money and essentially colonize the minds of young Puerto Rican and other Latinx children using shows like Dora and white washed, written folklore (Ch 4, 63-65). Latinx representation in TV and movies while still a form of valid and deserved recognition, “subvert the unique qualities each culture can bring to the table (Ch 4, 67). 

I enjoyed reading about so many shows I watched growing up as a child through a more critical lens but also as a way to celebrate the progress that has been made. In capitalism, everything is for profit; everything and everyone are a commodity. Dora did great things. However, pillars of racism that capitalism is propped up by in this country make it seemingly impossible for there to be a truly diverse and representative portrayal of Latinx culture and stories. I think often times in media representation is equated with generalization. They do one show about a middle class Latinx family that incorporates elements such as speaking Spanish, immigration, and so on and suddenly that is enough to these companies because in their mind they are representing the “general Latinx experience.” Although, no such thing exists. I strongly agree with the author of Chapter 4 that these “representations” are extremely lazy. 

A clip from the Juan Bobo episode of Dora: https://www.youtube.com/watch?v=P6R2Cf5HuaM

Sesame Street: Latino Festival clip:  https://www.youtube.com/watch?v=Jcsf2KshklE

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Module 1

This weeks readings served as an introduction to the portrayal of Chicanx/Latinx culture and people in mainstream, particularly American, media. The prologue introduced some common Chicanx/Latinx stereotypes and problematic portrayals such as the hyper-sexualized, overly-emotional/passionate Latina women, the lazy criminal immigrant, and as a result the white hero saving the hyper-sexualized woman from the criminal immigrant (Prologue, 5-8). Chapter 1 states that although portrayals of Chicanx/Latinx people in the 1940s and 50s were roughly equivalent to their numbers in the U.S population (2% and 2.8% respectively), the portrayals were seldom accurate and often offensive (Ch 1, 25). Most Latinx representation at this time was as criminals or “comic, bumbling cowboys,” in Western films where white people played the heroes (Ch 1, 25-26). The 1970s brought a shift as this is when Latinx artists, producers, writers, and activists began to influence how they were portrayed in the media (Ch1, 27). As a result bilingual children’s shows were introduced and some shows such as Chico and the Man aired that had Latinx leads as well as trying to tackle some of the social issues surrounding being Chicanx/Latinx in America (Ch 1, 27-28). The 1980s and 1990s found a in a increase of Black representation following the success of shows like The Crosby Show (Ch 1, 28). At the time, there was no Latinx equivalent, and shows staring Latinx characters ran no more than one season discouraging networks from allowing any of the genre to be made again (Ch 1, 29). However, Latinx actors were gaining appearances and notoriety in shows like Miami Vice and Law and Order (Ch 1, 28). The 2000s and on brought about a couple of shows that do show some progress in terms of fair portrayals of Latinx/Chicanx people as well as providing them with shows to star in; for example, Jane the Virgin, Ugly Betty, Modern Family, and so on. However, representation in the media is no where near proportional to their population percentage in America (Ch 1, 29). At the same time, negative and problematic portrayals especially the Latinx gangbanger/drug dealer/criminal and the Latina maid still exist and are quite rampant (Ch 1, 30-31). 

These readings really made me reevaluate the Latinx characters in much of the media I have consumed throughout my life. Although, I do agree progress has been made and shows like Jane the Virgin are an amazing testament to the fact that Latinx characters can be written well with a lot of complexity and depth and outside the typical immigrant family portrayal; there is still an overwhelming amount of problematic portrayals. For example, maids and the help are almost always portrayed as Latina or at the very least women of color. However, the vast amount of Latinx media that was mentioned I had never heard of. The burden is on me to seek out and consume positive, uplifting, empowering, and fair portrayals of Latinx people in art and media. As the consumer, I must be aware of the subtle messaging being sent in what I consume.