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From the Fields to the Streets to the Stage: Chicana Agency

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From the Fields to the Streets to the Stage: Chicana Agency FROM THE FIELDS TO THE STREETS TO THE STAGE: CHICANA AGENCY AND IDENTITY WITHIN THE MOVIMIENTO by ERIN CAROL ANASTASIA MOBERG A DISSERTATION Presented to the Department of Romance Languages and the Graduate School of the University of Oregon in partial fulfillment of the requirements for the degree of Doctor of Philosophy December 2015 DISSERTATION APPROVAL PAGE Student: Erin Carol Anastasia Moberg Title: From the Fields to the Streets to the Stage: Chicana Agency and Identity Within the Movimiento This dissertation has been accepted and approved in partial fulfillment of the requirements for the Doctor of Philosophy degree in the Department of Romance Languages by: Analisa Taylor Chairperson Amalia Gladhart Core Member Evlyn Gould Core Member Theresa May Institutional Representative and Scott L. Pratt Dean of the Graduate School Original approval signatures are on file with the University of Oregon Graduate School. Degree awarded December 2015. ii © 2015 Erin Carol Anastasia Moberg iii DISSERTATION ABSTRACT Erin Carol Anastasia Moberg Doctor of Philosophy Department of Romance Languages December 2015 Title: From the Fields to the Streets to the Stage: Chicana Agency and Identity Within the Movimiento The unionization of the United Farm Workers in 1962 precipitated the longest labor movement in US history, which in turn inspired all sectors of Chicana/o activism and artistic production. As the Movimiento gained support and recognition throughout the 1960s, grassroots and activist theater and performance played fundamental roles in representing its causes and goals. By the 1980s, however, the Movimiento was frequently represented and understood as a reclaiming of Chicano identity through an assertion of Chicano masculinity, a reality which rendered the participation and cultural production of Chicanas even less visible within an already marginalized cultural and historical legacy. In this dissertation, I seek to develop historically grounded answers to questions around issues of male visibility and female and lesbian/gay/bisexual/queer invisibility within the Movimiento and dominant Anglo culture. I work to bridge this critical gap in the treatment of plays by Chicana/o dramatists in two ways: (1) by examining plays by Chicanas without attributing or reducing their impact to their identities as women, lesbians, and/or feminists but rather by considering the performative characteristics of their works and (2) by engaging issues of gender and sexual biases and hierarchies across several decades of Chicana/o cultural production. iv A primary goal of this project is to shift and expand the critical focus of scholarship and discourse on Chicana/o theater and performance in order to consider the lived experiences and creative contributions of the many participants in the Movimiento, many of whom are not represented through the perspective, experience, and voice of the heteropatriarchal Chicano subject. I maintain that we must take into account multiple and often conflicting representations of the Movimiento and of Chicana/o identity in order to more fully understand the history of Chicana/os in the US and to better confront the mechanisms of exclusion toward Chicana/os that have continued into our present moment. At stake is the equal treatment and inclusion of the contributions of Chicana and lesbian/gay/bisexual/queer Chicana/o dramatists as well as a more profound and nuanced understanding of the fight for the liberation of multiple and diverse Chicana/o subjects that has continued into our present moment. v CURRICULUM VITAE NAME OF AUTHOR: Erin Carol Anastasia Moberg GRADUATE AND UNDERGRADUATE SCHOOLS ATTENDED: University of Oregon, Eugene, OR Catholic University of America, Washington, DC Hamilton College, Clinton, NY DEGREES AWARDED: Doctor of Philosophy, Romance Languages, 2015, University of Oregon Master of Arts, Modern Languages and Literature, 2010, Catholic University of America Bachelor of Arts, Hispanic Studies, 2008, Hamilton College AREAS OF SPECIAL INTEREST: Chicana/o Cultural Production & History Chicana/o, Latina/o, and Latin American Theater & Performance Women, Gender, and Queer Studies PROFESSIONAL EXPERIENCE: Graduate Teaching Fellow, Department of Romance Languages, University of Oregon [UO], 2010-2015 Steward, Graduate Teaching Fellows Federation, [GTFF], UO, 2013-2014, 2015 PhD Representative, Romance Languages Graduate Student Association [RLGSA], UO, 2012-2013, 2015 Vice President of Political Education, GTFF, UO, 2014-2015 Vice President, RLGSA, UO, 2014-2015 Graduate Committee Graduate Student Representative, Department of Romance Languages, UO, 2011-2012, 2013-2014 Resident Director, Oregon University System [OUS] Study Abroad Program, Querétaro, México, 2012 vi President, RLGSA, UO, 2011-2012 Co-Chair, Romance Languages Graduate Student Conference, “Resistance and Occupation,” UO, 2011-2012 Co-Founder, RLGSA, UO, 2010-2011 Committee Chair, Romance Languages Graduate Student Conference, “Displacing Boundaries in the Romance World,” UO, 2010 Supervisor, 1st-year Spanish, Department of Modern Languages and Literature, Catholic University of America [CUA], 2009-2010 Teaching Assistant, Department of Modern Languages and Literature, CUA, 2008-2010 GRANTS, AWARDS, AND HONORS: Dissertation Fellowship, Oregon Humanities Center, UO, 2014-2015 Stickles Scholarship, Department of Romance Languages, UO, 2014-2015 Charles A. Reed Graduate Fellowship, College of Arts & Sciences, UO, 2013- 2014 Stickles Scholarship, Department of Romance Languages, UO, 2012-2013 Risa Palm Graduate Fellowship, College of Arts & Sciences, UO, 2011-2012 Graduate Research Scholarship, Department of Romance Languages, UO, 2011- 2012 Beall Fellowship, Department of Romance Languages, UO, 2010-2011 Outstanding Instructor of the Year, CUA, 2008-2009 vii ACKNOWLEDGMENTS The completion of this dissertation was supported in part by a Dissertation Fellowship from the Oregon Humanities Center and by fellowships and scholarships from the College of Arts & Sciences and the Department of Romance Languages at the University of Oregon. It was also supported by the generous and diverse Eugenians who employed me in part-time work throughout my tenure as a graduate student, as a nanny, a weeder/landscaper, a house/pet-sitter, a tutor, a restaurant worker, a translator, and a personal assistant. My five years as a doctoral student and graduate employee were supported from beginning to end by Nat Brenner, my colleague, office-mate, and partner in all things RLGSA/GTFF and in all endeavors to resist, revolutionize, and rebel against the increasing corporatization of higher education. ¡Sí se puede! My most recent revisions were influenced, in part, by conversations with my students in SPAN 348, whose willingness to engage with challenging and intimate topics through the study of Chicana/o cultural production reaffirmed for me the significance of continued work in the fields of Chicana/o Studies and Chicana/o theater and performance. Much of this book was conceptualized, written, and rewritten in the company of all of the Perk regulars and especially Logan Gowen, who afforded me countless opportunities to talk through my writing process and allowed me to take up significant table space for over a year. viii The final stages of writing and editing were supported by my colleague and compañera Luz Romero, whose attentive eyes and thoughtful ears helped to prepare me for my final dissertation defense. ¡Muchísimas gracias! I am grateful to have found not only a mentor but also a friend, neighbor, and like-spirited person in Analisa Taylor, the Chair of my Dissertation Committee and a writer and thinker whose words and work always inspire in me—and others—necessary and profound (self)reflection and (self)examination. Thank you, thank you, thank you. ix DEDICACIÓN * To my first love, who repaired my spirit and made me conscious and loved me wholly from the day we met, and all the days afterward, through adolescence, our self-absorbed college years, and more than a decade spent intertwined and working through our shit: I remember all of it; I miss you still; I wrote this, in the end, without you. * To the people I once called parents, who couldn’t love any of us or even themselves, who missed so many opportunities to know me, who lack substance and consciousness and honesty, who always met my self-awareness with repression, my intensity with violence, my intellect with ridicule, my love with terror, my empathy with cruelty, my wisdom with ignorance, and my honesty with denial: I remember enough to be sure; I miss you not at all; I wrote this, from the very beginning, in spite of you. * To the grief that brought me deeper, by (nearly) fracturing my insides and my optimism and by rubbing me raw, from the first flicker of doubt to the agonizing hours and years spent waiting until I finally (nearly) believed she was gone: x I remember only fragments; I don’t know how much I miss; I wrote this, somehow, enfolded within your weight. * To the town I call home, where I grow my own food and never need a car or somewhere else to go, where I’ve felt most grounded and least alone, where I’ve come closest to living the life brought to image in the vision board I made before my move, alone, to a coast and a town I’d never seen: I remember the first summer; I miss no other place; I wrote this, from first to final word, at home. * To Derrick Jensen and Lidia Yuknavitch and Margaret Atwood and Cheryl Strayed, who write of what matters most in a way that moves me to consciousness,
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