Arteaga URS Presentation

1 I became interested in this topic after discovering Selena Quintanilla’s works for myself two years ago. Although I love most varieties of Tejano music, I wondered why Selena was the only female artist mentioned or included in several streaming platforms 2 Here are some terms and definitions that are important to remember when discussing Tejano culture. Please note that while I choose to use the gendered version of Spanish language nouns I do so not to exclude marginalized genders; however, this project explores the traditional binary gender roles of Mexican- American men and women and thus it is necessary to utilize this element of language. 3 Although musica tejana is much more complex than simply a fusion between country- western music and Mexican norteño styles, we can begin to dissect it by understanding that it is in fact a result of cultural exchange between Anglos and Tejanos, and is also influenced by Mexican transnationalism. As Texas culture became increasingly Americanized, musica tejana began to adopt certain features of the music of the ethnic majority, including instrumentation. These changes were especially obvious in the orquesta style. Before the 1930s, conjunto was primarily a folk genre with loose instrumentation. However, after prolonged contact with Anglo Texans, conjunto began to be standardized in instrumentation, form, and style. Ultimately it doesn’t matter much which term you use to describe this music, but you must be consistent. 4 Lydia Mendoza was born in 1916 in Houston TX and spent her early life living in both Houston, Texas and Monterey, Mexico. After appearing on a San Antonio radio station and winning a Pearl Beer singing competition in 1933, she launched her career. Mendoza’s first hit song, “Mal Hombre,” is a good example of the ways in which women initially adapted música ranchera to suit mid-twentieth-century Tejano gender values. While these lyrics were neither original nor profoundly feminist in theme, she would later diversify and develop her music and persona as a performer Eva Garza, a peer of Lydia Mendoza, was born in San Antonio in 1917. She too gained initial attention by winning a singing competition, and began her own career. Whereas Mendoza’s music exclusively featured música tejana, Garza adapted a variety of Latin genres, such as the bolero, into continental North American use. Her legacy is particularly strong in Cuba rather than in her native Texas. 5 In the 1970s and 1980s, more conjunto music was recorded and played on air. Along with the advancement of recording technologies and instruments such as the synthesizer, a new genre, Tejano, was born. Instruments such as the bajo sexto and the accordion were now harder, yet not impossible, to find in a group. One pioneer of this new style was Laura Canales, who was known as La Reina de la Onda Tejana, as she helped solidify the basis of the new genre. She began as a member of the group Snowball & Co, later leading her own group as Laura Canales y Encanto. While her work was not outwardly feminist, she performed during the height of the movimiento, a call for civil rights among Mexican Americans, which in turn sparked the Chicana Feminist movement, which called for a non-separatist approach to ending the oppression caused by patriarchal structures, while still retaining cultural identity. As one of the first women to tour with men, she showed that professional autonomy could coexist with traditional femininity. 6 Selena Quintanilla Perez, known best by her mononym Selena, was born outside of Houston in 1971, and was tragically killed by the president of her fan club in late March 1995. However, she continues to be revered as the Queen of Tejano and is the subject of a movie, a Netflix show, has a dedicated MAC Cosmetics line. As someone who lived a short yet virtuous life, she has attained the status of a secular saint, a term referred to as marianismo. However, many Anglo Americans at the time of her death that did not know who she was compared her to Madonna, due to her flashy and occasionally revealing outfits. This shows a discrepancy between female expectations of modesty between Tejanos and Anglos in the United States yet does not reduce the feminist impact of a woman who was incredibly involved in her artistry and fought for control over her personal life after she was prevented from being with her husband. 7 8 Shelly Lares was a contemporary of Selena but continues to be a highly active performer. As a musician, she has broke Tejano gender barriers by playing multiple instruments. Instruments, especially the accordion, were traditionally taught apprenticeship-style, with a student/teacher relationship that would have been improper for a young woman and older man to participate in. She has also notably written her own songs and is known for utilizing a diverse range of genres. Unlike many of her female predecessors, Lares has had the opportunity to collaborate with other Tejana women. She hosts a podcast with other women and released an album called Las 3 Divas. 9 Tejano has occasionally been criticized as being outdated; however, Las Fenix has successfully incorporated more traditional elements of Tejano music (specifically the accordion and more acoustic sound) while still appealing to a younger, female demographic. The group consists of five sisters who are managed by their parents. While their style is very glamorous, the group displays a high level of technical skill. 10 As more and more artists are able to self-promote on platforms such as Facebook, YouTube, and Instagram (which has a high female user base), more and more “rising” artists are seen. Many of these women also are influencers, fitness consultants, or otherwise employed as well; additionally, more young women are able to access the music industry through self-publication. 11 The main point of this presentation is that it is difficult to separate artists as being feminist/not feminist, and it is impossible to do so without regard to specific cultural elements. I hope that you all have learned a great deal about Chicana feminism and how it relates to female musicians in Tejano music. 12.

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