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Title Resituating the Cultural Meanings of Lucha Libre Mexicana Title Resituating the Cultural Meanings of Lucha Libre Mexicana: A Practice- Based Exploration of Diasporic Mexicanness Type Thesis URL http://ualresearchonline.arts.ac.uk/8728/ Date 2015 Citation Montoya Ortega, Marcela (2015) Resituating the Cultural Meanings of Lucha Libre Mexicana: A Practice-Based Exploration of Diasporic Mexicanness. PhD thesis, University of the Arts London. Creators Montoya Ortega, Marcela Usage Guidelines Please refer to usage guidelines at http://ualresearchonline.arts.ac.uk/policies.html or alternatively contact [email protected]. License: Creative Commons Attribution Non-commercial No Derivatives Unless otherwise stated, copyright owned by the author Resituating the Cultural Meanings of Lucha Libre Mexicana: A Practice-Based Exploration of Diasporic Mexicanness Marcela Montoya Ortega Volume I Thesis submitted in partial fulfillment of the requirements of University of the Arts London for the degree of Doctor of Philosophy April 2015 ABSTRACT Since the 1930s Lucha Libre Mexicana, Mexican wrestling, has evolved as a manifestation of popular culture combining spectacle, sport, theatre and ritual. Lucha Libre Mexicana, an event based performance using the mask, connects and reconnects to myth, stories, and ritual that societies, in this case the Mexican, need in order to find meaning within daily events and the contradictions and questions that confront every individual. This research analyses the cultural meanings of Lucha Libre Mexicana from the point of view of a diasporic artist and contextualizes knowledge to determine artistic practice. Identity and the construction of identity are explored throughout this thesis. The various aspects of Lucha Libre Mexicana such as the masks, the holds, the wrestlers themselves, and the performative nature of the spectacle, serve as referents to make connections to the artist’s own culture and the idea of constructed Mexicanness. This study includes a number of practice-based inquiries that are the result of the analysis and reflection on Lucha Libre and diasporic Mexicanness. The study reveals the manner by which creative processes including thinking in materials enable the artist scholar to acquire knowledge and thematic understanding. This thesis demonstrates how the traditional icons of the Mexican luchador and his mask acquire an even stronger iconic and symbolic value, emblematic of justice, outside the Lucha Libre ring. The study contributes to the field of cultural studies by adding to the understanding of the historical timeline of the development of Lucha Libre Mexicana. A large body of original work developed from the investigations and analyses of the subjects and issues discussed. ACKNOWLEDGEMENTS The origin of this thesis is long ago, when as a young student at “La Esmeralda” Art School in Mexico City, I encountered the art and writings of Antoni Tàpies who continues to inspire me to this day at the University of the Arts London. I would like to thank my supervisors Professor Oriana Baddeley, Professor Carol Tulloch, Professor Jane Collins and my advisor Professor Paul Coldwell for their patience, support and encouragement and for their expert advice and guidance throughout the development of this project. I will always be grateful to my friends Cayetano H. Ríos and Michael Roberts for their support and belief in this research and for the many hours we spent in Mexico and going to the matches both in the U.K. and in Mexico. A special thanks to Cayetano H. Ríos for his great gift of photographic input throughout this project. The beginning of this research coincided with the promotion of Lucha Libre Mexicana in London, U.K. I am grateful to the promoter Andy Wood for the interview he gave me early on and his tolerance while we occupied the Roundhouse venue and backstage interviewing wrestlers and gathering data. My most sincere gratitude goes to Cassandro and Blue Demon Junior who assisted us the various times they performed in London and invited us into the world of Lucha Libre Mexicana. This research was greatly helped whilst in Mexico by the contributions of the wrestlers: Cassandro, Blue Demon Junior, Solar, El Hijo de Solar, Sangre Azteca, and the researcher and referee Orlando Jiménez. I would also like to thank the mask collector Christian Cymet López-Suárez for sharing his knowledge, archive, and collection of ii Lucha Libre Mexicana and in particular his collection of masks and memorabilia. I would also like to thank my father Rafael Montoya Ramos and my brother Rafael Montoya Ortega for their assistance and support in Mexico City as well as for their help in finding specialized books. In Guadalajara City, I am thankful for the help and support of Francisco Bricio Montoya and his family. In the U.K. a special thanks to Andy Ward for giving me a copy of his animation The Return of Super Barrio in 2008, and to Sam Putera and my daughter Ellen Turnill for their digital expertise and guidance in photography and filming assistance. I would like to thank Miguel Angel Pérez Cano of Galería de Arte Miguel Angel in Mojácar, Almería, Spain, for help in making the exhibition Through the Mask possible in 2011. I would like to thank Caroline Menezes for her curatorial work on this exhibition and to gratefully acknowledge the contributions of Juan Grima and Fabrizio Poltronieri. A special thanks to Sra. Luisa Gallardo for her generosity and expertise that made possible the completion of the pieces Flower and Song and Black Mask, White Thoughts. I would like to thank my niece Maryce Moss-Montoya who digitally recorded the photographs of the piece Buried. My sincere thanks to Regan O’Callaghan, Keith and Claudia Shephard, Ofelia Díaz, Mónica Montoya Ortega, and Penny Grant who collaborated during the installation of In Memory Of in the Chelsea Morgue in London. A special thanks to the musicians Sinuhé Padilla Isunza of Jarana Beat for the music used in the Photographs video, and Ravi Ramoneda for collaborating with his music for In Memory Of video. A huge thanks to Jesica V. Sánchez for the production of the video In Memory Of and DVD design. I would also like to acknowledge the loving support my partner David Gray Durán gave me throughout the development of this project. And lastly, thank you Sra. Lourdes iii Zamudio Ramírez, for the kind gift of the humble market mask of Blue Demon Junior that marked the beginning of this research about identity and Mexicanness. It has been a long journey of discovery and personal growth that was made possible by all the help, love and generosity of so many people in Mexico, Spain and in the United Kingdom and to all of them I am deeply indebted. ¡Muchas gracias a todos! iv TABLE OF CONTENTS Volume 1 Abstract i Acknowledgements ii Table of Contents v List of Illustrations viii Introduction 1 Shattered Identity 14 Chapter 1 Part 1. Syncretism and Hybridity 26 1.1.1 Syncretism during the Acculturation Period 26 1.1.2 Lucha Libre as a Hybrid Form 29 1.1.3 The Mask as the Metaphoric Link between Past and Present 32 1.1.4 Aztec Tropes: Xipe Totec and Tzompantli 37 Part 2. Practice-Based Inquiries Through the Mask 39 1.2.1 Xipe Totec and Tzompantli 42 1.2.2 Blue Demon Jr. 47 1.2.3 Wall of Masks 50 1.2.4 Flower and Song 55 1.2.5 Black Mask, White Thoughts 65 Chapter 2 Part 1. Construction of Mexicanness 77 2.1.1 Construction of Mexicanness, Lucha Libre Mexicana and the Circus. 80 v 2.1.2 Maria Izquierdo and the Circus 98 Part 2a. Practice-Based Inquiries Echoes of La Maroma 101 2.2a.1 Angel of Liberty I and Angel of Liberty II 102 2.2a.2 Circo, Maroma y Teatro 104 2.2a.3 The Boy Who Dreamt Outside the Box 106 2.2a.4 Holds and Aerial Moves 109 Part 2b. Practice-Based Inquiries Contained Inside a Box 112 2.2b.1 Mythical Acrobatics 113 2.2b.2 Lucha Libre Seeds 114 2.2b.3 Buried 115 2.2b.4 Diaspora: Earth, Seeds and Blood 116 2.2b.5 Frankincense and Copal 116 Chapter 3 Part 1. Lucha Libre Mexicana 129 3.1.1 The Act of Wrestling in Lucha Libre Mexicana 131 3.1.2 From the Ring to the Street—Emergence of Activist Groups in Lucha Libre Mexicana 140 3.1.3 Categories of Luchadores 144 3.1.4 Media, Fans and Collections 148 Part 2. Practice-Based Inquiries Hues of the Passions 157 3.2.1 Time for Justice 157 3.2.2 Strategy of Fear 161 3.2.3 Cassandro 163 3.2.4 Mythologies 166 3.2.5 Tortured 168 vi Conclusion 181 Ius Soli (Montoya-Turnill: 2011) Processes of Making and Formulation of Meaning 195 Appendix 1: 201 Biographies of Wrestlers and Other Lucha Libre Personalities 201 Interview with Blue Demon Jr. 205 Glossary 206 Bibliography 210 Volume 2 Catalogue of work 1 DVD Photographs of work (2007-2014) 39 Appendix 2: 40 Documentation of Through the Mask Exhibition 41 DVD Through the Mask Exhibition 2011 47 Documentation of In Memory Of Exhibition 48 DVD In Memory Of Exhibition and Performance 2014 55 vii LIST OF ILLUSTRATIONS Fig. 1. Arts-Based Research Cycle 4 Fig. 2 Data sources and further methodology 5 Fig. 3. Trying to take off his mask! 7 Fig. 4. The action spills to the public 7 Fig. 5. Sangre Azteca and the public 8 Fig. 6. Detail of sherds of Shattered Identity 17 Fig. 7. Mascara Tecuani 28 Fig. 8. Xipe Totec clay sculpture 34 Fig. 9. The Blue Demon Mask 40 Fig. 10. The Mask of Xipe Totec 41 Fig. 11. Drawings of the Xipe Totec Mask 44 Fig. 12.
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