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Documents of 20Th-Century Latin American and Latino Art a DIGITAL ARCHIVE and PUBLICATIONS PROJECT at the MUSEUM of FINE ARTS, HOUSTON

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Documents of 20Th-Century Latin American and Latino Art a DIGITAL ARCHIVE and PUBLICATIONS PROJECT at the MUSEUM of FINE ARTS, HOUSTON International Center for the Arts of the Americas at the Museum of Fine Arts, Houston Documents of 20th-century Latin American and Latino Art A DIGITAL ARCHIVE AND PUBLICATIONS PROJECT AT THE MUSEUM OF FINE ARTS, HOUSTON ICAA Record ID: 803291 Access Date: 2017-12-06 Bibliographic Citation: Goldman, Shifra M. "Introduction" In Chicano Voices and Visions: A National Exhibit of Women Artists, Exh. cat.,Venice, CA: Social & Public Art Resource Center (SPARC), 1983 WARNING: This document is protected by copyright. All rights reserved. Reproduction Synopsis: or downloading for personal Shifra M. Goldman’s essay provides a brief history of the Chicano Movement and also names use or inclusion of any portion some of the early Mexican American women’s political groups, professional associations, and art of this document in another work intended for commercial groups. She discusses the overall failure of the Chicano Movement in order to challenge gender purpose will require permission inequality and the sexist stereotypes inflicted upon Chicanas. While acknowledging the influence from the copyright owner(s). of feminism on Chicanas, she says that the racism and classism within white feminism at times ADVERTENCIA: Este docu- polarized Euro-American and Third World feminists. Goldman explains the difficulties that mento está protegido bajo la ley de derechos de autor. Se women artists faced in participating in the early phase of the Chicano art movement that was reservan todos los derechos. dominated by public art forms, comparing this to the surge of Chicana artists who appeared in Su reproducción o descarga the late-1970s when Chicano art shifted to gallery, museum, and college exhibition venues. para uso personal o la inclusión de cualquier parte de este Goldman provides a history of Chicana art making that begins in the colonial period and includes documento en otra obra con vernacular art forms and domestic crafts. She notes the sources of key images in Chicana art of propósitos comerciales re- the 1970s, including images of Frida Kahlo and vernacular art of the southwest United States. querirá permiso de quien(es) detenta(n) dichos derechos. Please note that the layout of certain documents on this website may have been modi- fied for readability purposes. In such cases, please refer to the first page of the document for its original design. Por favor, tenga en cuenta que el diseño de ciertos documentos en este sitio web pueden haber sido modificados para mejorar su legibilidad. En estos casos, consulte la primera página del documento para ver International Center for the Arts of the Americas | The Museum of Fine Arts, Houston el diseño original. P.O. Box 6826, Houston, TX 77265-6826 | http://icaadocs.mfah.org Chicana VOices & Visions A NATIONAL EXHIBIT OF WOMEN ARTISTS 27Artists from Arizona, California, Colorado, Michigan, New Mexico and Texas Social and Public A rts Resource Center Venice, California December 3, 1983 to January 21, 1984 (closed December 19 to January 6) Guest Curator: Coordinator: Shifra M. Goldman Mary-Linn Hughes Funded in part by a grantfrom the National Endowmentfor the Arts 803291 This electronic version © 2015 ICAA | MFAH [2/9] Introduction The Chicano socio-political move­ and characteristics to be considered a ment (as differentiated from the cultural movement-one that articulated the Mexican and Mexican American move­ Chicano experience in the United States. ments preceding it) began in 1965, as a The Chicano experience was not a result of the grape pickers strike in simple one to express, beginning with Delano, California that triggered the its self-designation. Mexicans in the imagination of a whole generation of United States have called themselves by Mexican-descent young people. It was a variety of names corresponding to followed in 1966 by a demonstration in historical and social pressures faced by Albuquerque, New Mexico; by the colonized people. Variously the terms founding of the Crusade for Justice in have included Spanish American and Denver, Colorado the same year; by the Hispanic (the latest "fashionable" term courthouse raid on behalfofland grant rejected by many because it ignores the To fi"t and most impo'tant thing rights in northern New Mexico in 1967; Indian component so important to the that can be said about the women re­ by the founding in 1967 of campus Chicano movement); Mexicano, Mex­ presented in this exhibit is that they are organizations throughout the South­ ican, Mexican American, Raza (the artists. The second fact concerns the west, and the consequent birth of terms Race), and Chicano. In their search for number of Chicana women today who like "Chicano" and ''chicanismo':' by the a national denominator, Chicanos faced can be counted in their ranks, whether formation in 1967 of the Raza Unida other problems of diversity: not all were in the fields ofliterature, drama, dance Party in El Paso, Texas; by the 1968 brown, not all were Catholic, not all or the visual arts. The third matter to student "blowouts" from East Los were Spanish-surnamed, not all were be considered are the multiple oppres­ Angeles high schools and the Third Spanish-speaking. Many identified sions Chicanas had to confront and con­ World strike at the San Francisco State equally as Native American and quer before they could achieve t!l~ first University; by the anti-Vietnam war Mexican. There were also regional stat~ that ofbeing artists. The pith and demonstration of 1969 and the Chicano diversities, and, finally, the question of essence of what is presented in these col­ Moratorium of 1970, both in Los sexual differentiation. lected works derive from a specific Angeles. These, and many other eco­ Mexican and Chicana women have social history, the lived experiences of nomic and political events in the South­ traditionally faced a series of stereo­ that history, and the matured reflections west and the mid-West, were accom­ types, misconceptions and restrictions made on that history by artists born panied by a cultural explosion with a from society at large, and from within Chicana in "occupied America." sufficient number of unifying symbols their own communities. Many of these 803291 This electronic version © 2015 ICAA | MFAH [3/9] are similar to those shared by women in about and for them by male historians, behind and back up her Macho."3 As general; some are specific to a so-called psychologists and other apologists or Martha Cotera has pungently pointed Latin American ethos. According to contributors to female oppression. out, when the men (and even some of various studies, Latin American Chicana and Chicano historians and the women-those she calls the women, continentally, were expected to sociologists are revising the history of "chickie-babies" and the "groupies" of be gentle, mild, sentimental, emotional, Mexican women in the United States the movement) spoke ofliberation, intuitive, impulsive, fragile, submissive, and Mexico: reexamining the legends, "you found that they literally meant docile, dependent, and timid; while discovering and publishing the names liberation for men, and they couldn't men were supposed to be hard, rough, and deeds of writers, labor leaders, and care peanuts about you or your little cold, intellectual, rational, farsighted, social reformers, as well as thousands of . girls or your little sisters, or your own profound, strong, authoritarian, inde­ unnamed working women whose com­ mother."+ However, precisely through pendent and brave. The Mexican bined actions have shaped history. strong, perceptive and outspoken family, in particular, was purportedly There is no question that Chicana feminists like Cotera and Ines Her­ founded on the supremacy of the father women living in North America were nandes Tovar of Texas, Alicia Escalante (machismo), the total self-sacrifice of the also influenced by the feminist move­ and Francisca Flores of California, and mother (hembrismo), the elders having ment whose modern reincarnation was many others, Chicanas began to sense authority over the young, and the men almost simultaneous with that of the their power and speak out on their own over the women. Chicano men were Chicano movement: both products of behalf. They established organizations seen as dominating their wives and the turbulent and reforming sixties. like the Mexican American Women's overprotecting their daughters; expec­ Though women played a prominent Organization, the Comision Femenil . ~ing passive compliance from both.2 In role in the Chicano movement, they felt Mexicana, the Mexican American actuality, the Chicana is the product of the need for a clearer articulation of Business and Professional Women, the two cultures: the traditional Mexican their own role in society. The movement Hijas de Cuauhtemoc, and the Concilio culture experienced at home in diluted called for an end to oppression-dis­ Mujeres. In Texas, the art group forms; and the dominant North crimination, racism and poverty-goals Mujeres Artistas del Suroeste (MAS: American culture (with its own share of which Chicanas supported unequiv­ Southwestern Women Artists) organ­ sexism, but a greater liberty for women) ocally; but it did not propose basic ized exhibits for Chicana and Latina outside the home. But the final point to changes in male-female relations or the women. Publications like Encuentro be made is that Chicana women, like status of women. A commonly ex­ Femenil, Regeneracion, Popo Femenil, and women everywhere, have never con­ pressed attitude on woman's role was, La Razon Mestiza appeared. The rela­ formed to the stereotypes manufactured "It is her place and duty to stand tions of Chicanas with the main group- 803291 This electronic version © 2015 ICAA | MFAH [4/9] ings of white, middle-class U.S. Organizations have dealt with problems wives, mothers, and workers with the feminists were not always cordial. of welfare, rape, battering, birth con­ time for creative work; and finally, Racism and classism within these trol, involuntary sterilization of geno­ being sufficiently self-confident and movements often came under attack.
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