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On the Treachery and Emancipatory Power of Chicana Iconographies

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On the Treachery and Emancipatory Power of Chicana Iconographies Notes Introduction: On the Treachery and Emancipatory Power of Chicana Iconographies 1 . For an excellent discussion of the differences between Chicana and Anglo feminisms see Marta Cotera’s (1997) revision of the movements’ history in “Feminism: The Chicano and Anglo Versions—A Historical Analysis.” 2 . Aztlán is the Chicano mythical homeland that was lost in 1848 with the Treaty of Guadalupe, by virtue of which Mexican citizens who chose to remain in the north of Mexico lost their citizenship, their country, their land, and eventually their language. 3 . For an analysis of Chicana spiritualism as a means for social and gender liberation, see Laura Pérez’s (2007) Chicana Art , Lara Medina’s (2006) “Nepantla Spirituality,” Castañeda-Liles’s (2008) “Our Lady of Guadalupe and the Politics of Cultural Interpre- tation,” Jeanette Rodriguez’s (1994) Our Lady of Guadalupe , and Aída Hurtado’s (2003) “Transgressive Worshiping.” 4 . Another label used to group US feminists of color is “multiracial feminism.” Maxine Baca Zinn and Bonnie Thornton Dill (1996) offer an excellent discussion on the distinguishing features of “mul- tiracial feminism” in “Theorizing Difference from Multiracial Feminism.” They emphasize the pervasive nature of race in con- temporary US society and at the same time acknowledge how race shapes and is shaped by a variety of other social relations. 5 . According to Anzaldúa and Moraga (1981), a “theory in the flesh means one where the physical realities of our lives—our skin color, the land or concrete we grew up on, our sexual longings— all fuse to create a politic born out of necessity” (23). It attempts to describe “the ways in which third world women derive a femi- nist political theory specifically from their racial/cultural back- ground and experience” (xxiv). 6 . This idea is further developed in “Postmodernism, ‘Realism’ and the Politics of Identity,” where Moya dismantles misappropria- tions of Chicana “theory in the flesh” by Donna Harraway and Judith Butler. Both critics deny social location through a relativ- istic approach, which dissolves the analytical utility of categories 156 Notes such as race, class, gender, and sexuality. As Alexander and Mohanty (1997) argue, the problem with this approach is that “If we dissolve the category of race, for instance, it becomes difficult to claim the experience of racism” (xvii). 7 . Alexander and Mohanty (2010) use the term “radical” to dis- tinguish between “the global as a universal system, and the cross-national, as a way to engage the interconnections between particular nations” (25). 8 . In 1939, Erwin Panofsky defined iconography as “the branch of the history of art which concerns itself with the subject matter or meaning of works of art, as opposed to form.” See Kleinbauer and Slavens (1982). 9 . See Richard Nebel (1995). 10 . According to Spitta (2009), “It is not the awed subject, but rather the misplaced object that causes a rift in understanding” because it unsettles “the subject/object binary that structures our certainty” (5). 11 . The farm workers lived in tremendous poverty, making as little as $2,500 per year. They demanded the same opportunities that other Americans had: minimum living wage, education for their children, decent housing, and life without fear ( Chicano 1996). 12 . For an excellent discussion of the impact of the Virgin of Guadalupe on Mexican-America communities see Elizondo’s works La Morenita ( 1980 ) and The Virgin of Guadalupe (1999), as well as G. Espinosa, V. Eliozondo, and J. Miranda, Latino Religions and Civic Activism (2005). 13 . Grewal and Kaplan (1994) locate postmodern practices within a complex and dynamic model of social, economic, and political relations, which they call scattered hegemonies. Their approach offers a productive model to feminist analyses and their critique of Western hegemonies. In their words: “Without an analysis of transnational scattered hegemonies that reveal themselves in gen- der relations, feminist movements will remain isolated and prone to reproducing the universalizing gesture of dominant Western cultures” (17). 14 . Originally, Nahuatl-speaking people used the word in the six- teenth century to define their situation vis-à-vis the Spanish colo- nizer. Nepantla is a seminal anchor in Anzaldúa’s borderlands theory since it is fundamental to the notion of “crossing borders” that is at the root of her feminist writing. 15 . See Alison Brysk and Gershon Shafir (2004) for an excellent dis- cussion about the connection between globalization and the citi- zenship gap. Notes 157 16 . In particular, I will focus on Trujillo’s (1998) essay “La Virgen de Guadalupe and Her Reconstruction in Chicana Lesbian Desire.” 1 Chicana Theory in the Flesh: A Bridge for the Transnational Feminist Movement 1 . In particular see: Kum-Kum Bhavnani, John Foran, and Priya Kurian, Feminist Futures: Re-imagining Women, Culture and Development (2003); C. Mohanty and J. Alexander, “Introduction” to Feminist Genealogies, Colonial Legacies, Democratic Futures XIII–XLII (1997); Sangtin Writers and Richa Nagar, Playing with Fire, Feminist Thought and Activism through Seven Lives in India (2006); and Shari Stone-Mediatore, “Storytelling and Global Politics,” Reading Across Borders: Storytelling and Knowledges of Resistance (2003). 2 . Recent example of this approach is Vicky Funari, Sergio de la Torre, Grupo Factor X, Colectivo Chilpancingo, and Promotora por los Derechos de las Mujeres’s Maquilapolis: City of Factories (2006). The filmmakers brought together factory workers in Tijuana and com- munity organizations in Mexico and the United States to depict glo- balization through the eyes of the women who live this experience. 3 . Rather than assuming “commonality of oppression,” Mohanty defines “solidarity” as communities who “have chosen to work and fight together,” where diversity and difference are central val- ues (2003, 7). 4 . For a history of the book, see the introduction of the 1988 Spanish version of This Bridge , Esta puente mi espalda: Voces de mujeres tercermundistas en los Estados Unidos , edited by Cherríe Moraga and Ana Castillo. 5 . For the most recent history of Chicana genealogy, see Maylei Blackwell’s Chicana Power: Contested Histories of Feminism in the Chicano Movement (2003). 6 . See Ester Hernández’s (1972) essay “La Chicana y el Movimiento” and Anna Nieto Gómez’s (1974) “Chicana Feminism” in Alma M. García’s Chicana Feminist Thought: The Basic Historical Writings . 7 . Her now classic Diosa y Hembra (1976) accounts even in more detail the significant role Mexican and Chicana women played in US and Mexican society. 8 . E. Hernández, personal communication with the artist in spring 2007. I had the opportunity to interview the artist at her house, in the Mission neighborhood of San Francisco in February of 2007. 158 Notes This interview reminded me that even though the origins of any artistic endeavor are essentially irrecoverable, art always emerges from a concrete encounter with time, space, emotions, memory, and hopes. In this interview Hernández talked about those con- crete encounters with “the real” and linked them to the broader context of what it meant for her to be a Chicana woman, the daughter of an immigrant family, a feminist mestiza, and a social activist making art in the United States since the 1970s. 9 . Ometeotl is the Aztec divinity that reunited the feminine and mas- culine principles of the universe. For further explanation about the connection between the Virgin of Guadalupe and Ometeotl see León Portilla (1963). 10 . The images examined here are reproduced with the permission of the artist, who holds the copyright. These images cannot be reproduced by any informational system without permission from the artist. The author is grateful to Ester Hernández for her per- mission to reproduce them in this publication. 11 . Ester Hernández. Lecture presented at Kenyon College, spring 2009. 12 . According to the Aztec myth, Coatlicue becomes pregnant with Huitzilopochtli , the sun/war god, by swallowing a ball of feath- ers while sweeping the Serpent Mountain. Huitzilopochtli is born fully armed and slays his sister, Coyolxauqui (the moon), and her four hundred brothers (the stars). The importance of the myth, cited by Pat Mora (1996) in a note to her poem “ Coatlicue ’s Rules,” becomes apparent when Chicana writers connect myth to history. For example, in “El mito azteca” Cherríe Moraga explains that her art emerges from the Coatlicue ’s wound: “That moment when brother is born and sister is mutilated by his envy”. 13 . Hernández. Lecture presented at Kenyon College, spring 2009. 14 . Ibid. 15 . “La Llorona Project, San Francisco.” The professional website of Juana Alicia, artist and educator Juana Alicia, 2003–2007. Web, accessed November 5, 2010. http://www.juanaalicia.com/about/ . 16 . “Oral History Interview with Juana Alicia 2000, May 8 and July 17.” Archives of American Art, Smithsonian Institute . Web, accessed July 12, 2010. http://www.aaa.si.edu/collections /interviews/oral-history-interview-juana-alicia-13573 17 . Ibid. 18 . Ibid. 19 . Ibid. 20 . Ibid. Notes 159 21 . Ibid. 22 . Ibid. 23 . Fresco buono is an ancient painting technique that, practiced all over the world, has endured for centuries. 24 . “Oral History Interview with Juana Alicia 2000, May 8 and July 17,” Archives of American Art, Smithsonian Institute . Web, accessed July 12, 2010. http://www.aaa.si.edu/collections /interviews/oral-history-interview-juana-alicia-13573 25 . See Miguel León-Portilla’s Tonantzin Guadalupe (2000) and Richard Nebel’s Santa María Tonanztin (1995) for an in-depth discussion of the fusion of these icons. 26 . For a full image of the mural see https://www.google.com/search? q=juana+alicia&hl=en&client=firefox-a&hs=LHJ&rls=org.mozi lla:en-US:official&channel=np&prmd=imvns&tbm=isch&tbo=u &source=univ&sa=X&ei=YKzQT43KEKeO0QG_j520DQ&ved =0CHoQsAQ&biw=1594&bih=739 27 . “La Llorona Project, San Francisco.” The professional website of Juana Alicia, artist and educator.
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