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Gabriella Gutierrez Y Muhs Rebozos Are the Stencils of Womanhood In

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Gabriella Gutierrez Y Muhs Rebozos Are the Stencils of Womanhood In variery of ways: tied around the waist, wrapped around the head, fashioned around the hips. Saldivar changed the look of Gabriella Gutierrez y Muhs her $40 satin fuschia rebozo three times throughout the Independent Scholar evening: around the arms, then off her shoulders and finallY, across her neck and down her back. a la Isadora Duncan. Rebozos are the stencils of womanhood in the Chicanl Que srylish! . memory. Dolores del Rfo, Carmen Zapata, Marfa Felix, Gloria Mar(n, Move over pashminas. rebozos are haVIng theIr turn. and Flor Silvestre as well as the image of the revolutionary soldadera The rebozos, sold at the museum's gift store, in shops on inscribed in our consciousness as the "real women" of our history, all Olvera Street and in specialry stores in East Los Angeles. can wear rebozos. The Mexican virgin's manto as well as all the "shawls" range from $30 to $160 depending on the fabric and size. on other iconic virgins in Catholic religion could also be interpreted The shawls are rypical!y two feet wide but lengths vary from as a rebozo. Rebozos are an intimate part of Chicana culture. Almost four to eight feet. ... every Chicana owns a rebozo. She may never wear it, but she has one 'The rebozo is a work of art. It has a cultural and an aesthetic in her dresser or altar. continuiry to it. A lot of modern women in ~exic~ are using . Rebozos appear in many contemporary literary texts of today, the rebozo again because it is one of those IncredIble master I examine some of these texts briefly in this analYsis. Rebozos are not pieces of design." Besides that. "it's practical" and s?m:how mere decorations, but representations of something much greater that integrates the new with the old and the future, he saId. That entices the wearer or onlooker to become synchronized into its cen- is very important. When somebody wears a rebozo, it.i~ a ter. They are. ifyou will, the sacred symbolic cloth that transports us cultural statement, not just an exotic cloth but recognIzing into a communal individualized sensibiliryChicanas have maintained the contributions of a civilization," (E4) and will continue to maintain for posteriry. Rebozos are memory and ritual at the same time. Rebozos represent womanhood served in a Through the previous observations by Michael QUintanilla(ii~urnalis~) bowl of folklore and struggle, motherhood and fashion: a myriad of and Gregorio Luke, (Executive Director of the museum of LatInAmen- uses, activities and memories for Mexicana/Chicana women to digest can Art in Long Beach) one can c1ear!y understa~d why re~?~os ap- continuouslY. In an article in the Los Angeles Times on rebozos pear vividlY in Mexicana and Chicana literature. hte~ary cntl~IS~ and "Wrap Parry Marks Renaissance of Rebozo" on November 26. 1999. photography as well as cultural studies, most promInentlY WIthIn the (almost at the end of the millenium) the Chicano 'Times Fashion last ten years of last century. Writer," Michael Quintanilla predicts the return of the rebozo: Henceforth, it is first important to look at the hlstoncal and spiritual value of rebozos by retrospectivelY looking at. their prece- Once considered an ethnic garment-and worn by artists like dence. A description of the rebozo in an anthropologICal book by Frida Kahlo as well as featured in paintings that show women Donald and Dorothy Cordry states that the rebozo is: wearing them-the rebozo is still versatile. fashionablY speak- ing, that is. the white head-covering. a plain-wear rebozo, is woven on a The women at the museum's fund-raising dinner that made treadle loom, and measures 30 by 152 inches. with hand fash- tribute to the rebozo with a fashion show called "EI Rebozo y ioned ball fringe on the ends-some eighry-six balls to each sus encantos" ('The Charms of the Rebozo") donned theirs- end... On the other hand. ancient people also used tufts and or borrowed one from their grandmother, mother or aunt-in a fringes (Cordry and Cordry 136) 134 VOCES 2001 The rebozo in history is described in many manners: point. Ikat is not common in present-day Indian garments, but was used in pre-Hispanic times in Peru and almost certain!>, in The rebozo is worn over the shoulders, shawl wise, but more Mexico. There is the possibilio/ that the rebozo was introduced common!>' is folded flat over the head, the 30-inch width be- from Southeast Asia, where ikat was well developed, and skirts ing divided into thirds. The length is similar!>' divided, the and rebozo-Iike garments were common. According to Foster's whole form in a layered cloth about 10 by 19 inches which data, the smaller cloths used in Mexico would possib!>,be more balances over the head from front to back; the rebozo falls to Spanish than the rebozo. (Cordry and Cordry 130) shoulder length behind, providing ample protection from the sun. (Cordry and Cordry 239) Interesting!>, enough the rebozo was of much smaller proportions in Spain. And I say interesting!>' enough because in present day Califor- Like most Mexicans, the rebozo is also unable to claim whether its nia as we will later see in this discussion, lechugueras, women lettuce origin is pure!>,indigenous or Spanish in some way. "Items of women's pickers, wear a handkerchief on their faces and heads almost like a dress which are of Spanish origi!1 are the blouse. the gathered skirt. rebozo. In a poster printed in 1996 by "Neltiliztli" a human rights and possib!>, the rebozo. As Dr. Daniel F. RubIn de la Borbolla has group about an "Evento Zapatista" that took place in Watsonville, said, the rebozo is of 'nebulous origin"'(Cordry and Cordry II) California, the zapatista woman on the poster wearing a snow cap that Contradictory to the previous statement and complimentary looks like a rebozo and carrying a rifle has more the appearance of a to future conclusions by the Cordrys, Manuel Toussaint attests in 1967 lechuguera working in the fields than that of a zapatista, or is she that the rebozo is: both to other Chicana's consciousness?(l) The smallness of this new kind of face cover reminds us again oriental in origin. has come to be the garment symbolical of of the Spanish attire described by the cordrys because it is inherited the Indian woman of Mexico. She uses it in a thousand ways: by the Spaniards from the eight hundred year Islamic rule: as a headdress. wrapped in a crown for protection from the sun, as a proper rebozo or scarf, covering the face to leave George M. Foster indicates that the rebozo in Spain is usu- on!>' a part visible. as a shawl against the cold, as finery to al!y a small sQuare cloth, sometimes no larger than a handker- enhance and ornament her personal charms. The weaving of chief, usual!y not similar to the long-fringed Mexican rebozo the rebozo is a high!>,skilled techniQue, in spite of the primi- (Foster 98). This later item of women's dress in our opinion, tive looms which are used.(Toussaint 388-89) maybe of Mexican origin .... (Cordry and Cordry 130) As stated preVious!>,the Cordrys give similar conclusions: As we can see this nebulosio/ in origin about the rebozo con- tinues today, although its cultural significance and value as a cultural Whether the rebozo was adopted with the edict of 1582, issued icon are undeniable. In Mexicano/Chicana/o culture today a rebozo by the Real Audiencia. compelling creoles not to dress in In- represents many metaphorical meanings. It is very much a Chicana dian garb; or whether it developed as has been stated else- icon because it has a working class memory. 'Ten, twenty years ago where-from the dictates of priests that the converted Indian you wouldn't be caught dead with a rebozo on, because of its work- women cover their heads in church; or whether they may have ing-class image," states one of the women on the runway at the mu- adopted the woven hUipii in some areas, is not certain .... The seum event. She also adds, "I told my aunts that the rebozo was back, fact that the rebozo is almost always ikat c!Yedis an interesting and they thought it was so amusing" (Quintanilla E4). Yetother women /36 VOCES 2001 VOCES 2001 /37 spoke about how it had a very deep meaning for them because their With Catholicism a rebozo becomes a sign of faith, decency. grandmothers carrried all their kids in a rebozo while doing house- IIIodesry. trust. an almost chastiry armor. Th~ Catholic churc~ re- work or because their mothers used them while they were growing up. ltuired that women cover their hair upon entering a church until the T~e working-c1~ss issue is central to understanding why subverting 1970s. Thus, the rebozo became the cover par excellence for poor this stereo~ype Icon from paintings by Diego Rivera. or soldadera women because they could not afford other head covers and because p~ctures in hiS~ory books.(2) (specifica!>, Chicano history books) to of its multipurpose profile that we have previouslY Ii~ted.. ~fyo~ wore pIctures taken In Elle magazine in August of 1991 of world renown a rebozo it was an almost immediate sign of Catholic spmtuallry and ~hicana au.thor ~an~ra Cisneros wearing a rebozo is so magnificent!>, faith as well as all the other ingredients, such as "modesry" and "de- Imp~rtant In reblrthIng the rebozo. Moreover. this reappearance of cency." These ingredients including the rebozo were synony.mous ~orkIng-.c1ass historical attire in a woman's fashion magazine shifts with being a "good woman" in Mexico prior to 1970 and at least In the ItS meaning from an iconic garment of the working-class.
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