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Caminante, No Hay Puentes, Se Hace Puentes Al Andar. (Voyager, There Are

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Caminante, No Hay Puentes, Se Hace Puentes Al Andar. (Voyager, There Are ! Caminante, no hay puentes, se hace puentes al andar. (Voyager, there are no bridges, one builds them as one walks) : Art, theater, and the transfor- mation of identity amongst Mexican-Americans of the American Southwest (1968-1992). Shimon Surya de Valencia B.A. (FLINDERS), B.A. (Hons) (UQ), B.Ed. (QUT) A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2016 School of Historical and Philosophical Investigations Abstract The mid-1960s through to the 1980s were decades of great cultural and political change in the United States, as they were in many parts of the world. During this period, the emergent Chicano ideology was framed by the nationalist revolutionary discourse popular amongst protest movements of the period. Forged in the social and economic turmoil of the period, an artistic and cultural renaissance was made manifest across the American Southwest. This in turn, led to the articulation of an identity framed in hybridity, and embracing of diversity. By focusing upon three sets of case studies, this paper examines the cultural production of the Chicano Art Movement in Los Angeles, California; Albuquerque, New Mexico; and El Paso, Texas, with a focus upon the period 1968-1991. Through the medium of what became known as the Chicano Art Movement, liberation theology, and social justice activism enabled dis- parate art and theater movements to articulate a cultural politics that reflected the borderlands experience. Through this art and its production, issues of race, oppression and power, inter- sected with the nature of American and Mexican identity, and history. Rather than descend into cultural secessionism, or advocating an assimilation agenda, this period culminated in the production of Gloria E. Anzaldúa’s Borderlands/La Frontera, and it’s New Mestiza ideol- ogy. This thesis proposes, that an identity framed within its own hybridity, became a vehicle in the transformation of what had been known as the Chicano Rights Movement. One that put lan- guage, culture and the borderlands experience, into a cohesive discourse. A discourse that produced a sophisticated methodology for countering oppression, and engaging with change. This was not a revolutionary break with the past. Rather, it was the product of tropes, themes and myths whose origins can be traced from the Mexican Revolution of 1910 through to the Civil Rights era of the 1960s and 1970s. Its journey from Mexican ideology, to American identity is one that lies at the core of what came to be called, the Chicano Art Movement. This journey was however not a monolithic exodus, but rather, a collection of movements that reflected the societies and histories that gave them form. When examined closer, this col- lective identity can be seen to be as much a product of hybridity, as the communities to whom it gave voice. Declaration by author This thesis is composed of my original work, and contains no material previously published or written by another person except where due reference has been made in the text. I have clearly stated the contribution by others to jointly-authored works that I have included in my thesis. I have clearly stated the contribution of others to my thesis as a whole, including statistical assistance, survey design, data analysis, significant technical procedures, professional editori- al advice, and any other original research work used or reported in my thesis. The content of my thesis is the result of work I have carried out since the commencement of my research higher degree candidature and does not include a substantial part of work that has been sub- mitted to qualify for the award of any other degree or diploma in any university or other ter- tiary institution. I have clearly stated which parts of my thesis, if any, have been submitted to qualify for another award. I acknowledge that an electronic copy of my thesis must be lodged with the University Li- brary and, subject to the policy and procedures of The University of Queensland, the thesis be made available for research and study in accordance with the Copyright Act 1968 unless a period of embargo has been approved by the Dean of the Graduate School. I acknowledge that copyright of all material contained in my thesis resides with the copyright holder(s) of that material. Where appropriate I have obtained copyright permission from the copyright holder to reproduce material in this thesis. Publications during candidature No publications Publications included in this thesis No publications included Contributions by others to the thesis No contributions by others. Statement of parts of the thesis submitted to qualify for the award of another degree None Acknowledgements My heartfelt thanks go firstly to my long suffering, endlessly patient supervisors. Associate Professor Chris Dixon has been an important part of my intellectual development as a historian. Associate Pro- fessor Andrew Bonnell has been a voice of clam, erudition and warmth. His comments have never failed to prompt me to further research, to the next discovery. I cannot fail to offer my thanks to Ms Judy King, the tireless engine for RHD students in the faculty office at UQ. To my friends, and family, I cannot offer enough thanks. Your humor and presence has kept me on track, when at times I felt my- self beginning to falter. Most especially to Liana Busoli, Dr. Sue Muloin, and Rabbi Aviva Kipen. You were to me towers of strength, and sage counsel. I cannot offer enough thanks to the staff of the Southwestern Studies Center at the University of New Mexico. And especially to Mr. Samuel Sis- neros, the La Compañia archivist and never ending font of wisdom and experience. My thanks also go out to Professor Luis Keeble. Through him I began to see a world of wonder, and the bliss of inquiry and curiosity. It was at his table that I began to become familiar with the University of Queensland as a young 13 year old, and it opened a world of wonder. To La Raza of the American Southwest, words fail me. Your warmth and generosity of spirit have been inspirational, and I offer my deepest thanks. To Jose Rodriguez, I cannot offer thanks enough. Although we never met in this life, I pray I have done your memory justie. To Gloria Anzaldua, whose work has entranced me since I first encountered it, muchas gracia amiga. I cannot forget my beloved Grandmother Evelyn. I so wish you could be here that I could share in your joy, and see you smile again. Let this by my offering to you. And finally, to my poor cat Draco. Thank you my sweet, for your patience and your love. Keywords US History, Chicano, Southwestern, Mexican-American, Anzaldua, Borderlands, Feminism, New Mexico, El Paso. Australian and New Zealand Standard Research Classifications (ANZSRC) ANZSRC code: 210312, North American History 40% ANZSRC code: 210308, Latin American History 30% ANZSRC code: 190102, Art History 30% Fields of Research (FoR) Classification FoR code: 2103, Historical Studies 70% FoR code: 1901, Art theory and criticism 30% Table of Contents Table of Illustrations 2 Chapter One: Mexico as Prologue 4 Chapter Two: Introduction 17 Chapter Three: Southern California, 1968-1989; Art, Theater, and the politics of community. 45 Chapter Four: New Mexico 1977-1982 84 Chapter Five: New Mexico 1982-1991: 121 Chapter Six: The El Paso Art Movement 147 Chapter Seven: Anzaldua as Postscript 183 Conclusion 209 Bibliography 217 !1 Table of Illustrations Figure 1: Diego Rivera, Tenepal, Escuela Nacional Preparatoria; Picture taken by author. p.4. Figure 2: José Guadalupe Posada La Calavera Oazaquena 1903 - United States Library of Congress's Prints and Photographs division (Washington DC. US Library of Congress.) digi- tal ID ppmsca.13238. p.9. Figure 3: La Marcha de la Revolucion, David Alfaro Siqueiros, Picture taken at Sal de Arte Público Siqueiros by the author. p.10. Figure 4: Pastores de la Ciudad. - Theater Program, (Box 1, Folder 42), La Compañia Teatro de Alburqurque Archive, Center for Southwestern Research, University of New Mexico. p.92. Figure 5: La Pasion de Jesus Chavez - Theater Poster: (Box 1, Folder 42), La Compañia Teatro de Alburqurque Archive, Center for Southwestern Research, University of New Mexico. p.100. Figure 6: A Scene from La Sueno de Navida - (Box 3, Uncollated), La Compañia Teatro de Alburqurque Archive, Center for Southwestern Research, University of New Mexico. p.112. Figure 7: The Adventures of Don Quijote - Theater Poster: (Box 1, Folder 48), La Compañia Teatro de Alburqurque Archive, Center for Southwestern Research, University of New Mexico. p.130. Figure 8: Martin - Theater Poster: (Box 1, Folder 48), La Compañia Teatro de Alburqurque Archive, Center for Southwestern Research, University of New Mexico. p.143. Figure 9: The Barfly - Louis Jimenez: Picture taken by author, 2015. p.162. !2 Figure 10: Violinista - Mario Parra: Picture taken by author, 2015. p. 163. Figure 11: El Jorango Rojo - Manuel Acosta: Picture taken by author, 2015. p. 166. Figure 12: Map - Segundo Barrio, El Paso Texas. Located at https://www.google.com.au/ maps/place/Segundo+Barrio,+El+Paso,+TX+79901,+USA. accessed on 3/10/2016. p.170. Figure 13: Enteguia/Entelechy - Carlos Rojas & Felipe Gallegos: Picture taken by author, 2015. p.177. Figure 14: AIDS - Carlos Cajello: http://texasmountaintrail.com/public/upload/ texasmountaintrail_com/files/El%20Segundo%20Mural%20Brochure1.pdf accessed on 3/10/2016. p.179. Figure 15: Memorial Cross. Picture taken by author, 2015. p.180. Figure 16: The Guardian Angel. Picture taken by author, 2015. p. 181. Figure 17: Jesús Helguera: Coatlicue. Located at http://algarabia.com/a-arte/jesus-helguera- el-encanto-de-las-utopias-en-la-pared/ accessed on 3/10/2016.
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