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Gender roles in Latin America
How society views women
Mexican american studies essay
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Recommended: Gender roles in Latin America
The popular revolutionary poem “I am Joaquin” by Rodolfo Corky Gonzales influenced many Chicana/os to embrace their heritage in the Chicano Movement in the 1960s. The poem created psychological work for the Chicano identity. Moreover, this poem developed and promoted social consciousness, commitment to activism, and cultural pride for many Chicanos. However, Gonzales primarily focuses on the identity and struggles of a Mexican-American male which excludes other narratives. Thus, the lack of inclusivity influenced me to recreate the popular poem, which centers on women from Central America who are rarely acknowledged in Chicano Studies. Therefore, our poem “I am Dolores” is focused on these three main themes: empowerment of women of color, resistance …show more content…
against hegemonic society, and social consciousness and awareness in Central America’s disparities.
In the beginning of the poem I focused on the way women are perceived throughout history in our systematic patriarchal society. Unfortunately, in Latino counties due to the machismo embedded in the culture, women are often seen as sexual objects who are incapable of male-oriented gender roles in society. For instance, when I describe the inequities and lack of privileges women have compared to men “Caught up in a world that is ruled by heterosexual patriarchal men” (Line 3). In other words, many women are enslaved and trapped to follow society’s gender norms. Women are restricted to a certain category. Specifically, in Latino countries where machismo is still prevalent. According to Michael Hardin, the Americas adopted machismo from the Spanish during the colonial period. Hardin speaks of the …show more content…
archetypes that are labelled on Latina women that marginalize, stigmatize, and reduce them to submissive roles (Hardin, 1-2). It is a recurring theme throughout history to brand women inferior to men. Thus, in the poem when I state “I am the Malinche, a proud survivor! Mother of Mestizaje, loyal conquer and traitor. Scorned by Marianism for my sexuality” (Line 17-19). I am liberating and empowering the negative historical stigma many indigenous women are marked in by transforming the Malinche archetype into a dynamic identity. To clarify, I am embracing the Malinche archetype to be less restricted and condemn to the dominant heterosexual male views. Moreover, by reviving the female historical figure to an empowering figure is a form of resilience and resistance against hegemony and it gives pride to many women of color to be represented strong and powerful. Additionally, I speak of the gender-based violence phenomenon occurring in many Central American countries that target women.
Femicide is violence and hate towards women due to the extreme aggressive machismo, gender inequalities and discrimination, and economic disempowerment embedded in Latino culture (Prieto-Carron, 26). To put differently, femicide is an epidemic that has occurred for years in Latino countries, but is more prevalent today due to the systematic corruption in society and media coverage. For instance, in the poem this issue is expressed when I assert “I watch for my sisters. I grieve for those who have been raped and killed, only to be forgotten and marginalized” (Line 15-16). To clarify, many women in Central America are killed due to this gender-based violence that is historically linked to the colonial period, when the Europeans categorized women inferior to men. This patriarchal mentality is instituted to many systems that it becomes normalize and ignored. According Mariana Prieto-Carron, who analyzes femicide in Central American countries, states, “those in power, both in the household and in state institutions, can exert greater control over women’s behavior and mobility” (Prieto-Carron, 30). In other words, this is a form of social-control from the elite in order to regulate women and keep them from going against hegemonic patriarchal society. These social constructs are restraining women from social mobility and freedom. Correspondingly, when I
state “only to be forgotten and marginalize” means that this is a recurring theme throughout Latino history to forget those women who are victims of discrimination and violence. Many women never find justice for the crimes committed by corruption and the imbalance of power. Therefore, social awareness is key in order to understand and fight to change the social and gender inequities in Central America.
In a story of identity and empowerment, Juan Felipe Herrera’s poem “Borderbus” revolves around two Honduran women grappling with their fate regarding a detention center in the United States after crawling up the spine of Mexico from Honduras. While one grapples with their survival, fixated on the notion that their identities are the ultimate determinant for their future, the other remains fixated on maintaining their humanity by insisting instead of coming from nothingness they are everything. Herrera’s poem consists entirely of the dialogue between the two women, utilizing diction and imagery to emphasize one’s sense of isolation and empowerment in the face of adversity and what it takes to survive in America.
Blackwell was able to conduct with the pioneering Chicana activist and theorist Anna NietoGomez, along with the members of Las Hijas de Cuauhtémoc. She talks about the families of Anna NietoGomez, Corinne Sanchez, and also Sylvia Castillo; and what brought them to activism. She uses Foucault’s archaeology of knowledge to help understand the ways in which the Chicanas have been omitted from the social histories of the Chicano and women’s movements.
As much as men are working, so are women, but ultimately they do not face the same obstacles. For example, “Even if one subscribes to a solely economic theory of oppression, how can one ignore that over half of the world's workers are female who suffer discrimination not only in the workplace, but also at home and in all the areas sex-related abuse” (Moraga 98). This gives readers a point of view in which women are marginalized in the work place, at home, and other areas alike. Here Moraga gives historical accounts of Chicana feminists and how they used their experiences to give speeches and create theories that would be of relevance. More so, Moraga states how the U.S. passes new bills that secretly oppress the poor and people of color, which their community falls under, and more specifically, women. For instance, “The form their misogyny takes is the dissolution of government-assisted abortions for the poor, bills to limit teenage girls’ right to birth control ... These backward political moves hurt all women, but most especially the poor and "colored." (Moraga 101). This creates women to feel powerless when it comes to control one’s body and leads them to be oppressed politically. This places the government to act as a protagonist, and the style of writing Moraga places them in, shines more light to the bad they can do, especially to women of color. Moraga uses the words, “backward moves”
...n, Gonzalez states his identity; "I am Aztec Prince and Christian Christ." This combination of culture is the basis of his poem, which can be found at http://www.pbs.org/chicano/joaquin.html, and is representative of the heritage of Mexican Americans. The concept of Aztlan is explained in Chicano!, and the mural ‘Corazon de Aztlan,’ found in Chicano Park (http://chicanopark.org/murals/north/n8.html ), reinforces the importance of this image in the lives of Chicanos. The myth of Aztlan symbolizes centuries of culture and struggles of Mexican Americans who went through incredibly difficult times throughout history, but never lost hope and always stayed strong, determined to one day be treated equally as citizens of the United States of America.
This implies that young women that work for maquiladoras were assumed to be immoral or lose by the media which in turn implied that it was alright for them to be brutally murdered because they brought it to themselves. Theoretically, the femicide construct shows a social phenomenon which led to the crimes against the young girls and women; they are linked to a patriarchal system which predisposes to a lesser or greater degree that the women should be killed (murdered). Furthermore, this idea may also be extended to the American girls also whereby the authorities blame Irene for becoming kidnapped. Furthermore, the novel’s recurring idea suggests that the Mexicans are deeply involved in religion but they are also chaotic because they are unable to solve the madness caused by the
In addition, these women were often subjected to control, domination, and violence by men” (Global). This validates Azuela’s stance on how women should stay within their traditional roles because fighting for equality has been ineffective even today.
In “I am Joaquin”, women are represented minimal, unspecific, and stereotypical. The term coined by Gonzales was not inclusive to women. A lack of women’s acknowledgment engagement with the Chicano Movement is present in Gonzales poem. In these lines “I shed the tears of anguish as I see my children disappear” Gonzales gives the impression of stereotypical women (I am Joaquin) . An image of a mother stereotype is depicted instead of an image of women contributing and involved in the movement through activism and organizations. Women such as Dolores Huerta played a vital role in the evolvement of the Chicano Movement however, the Chicano Social Identity is not inclusive to women because women are defined by men. Dolores Huerta was an important farmworker organizer within the farmworker struggles.
Junot Diaz’s novel The Brief Wondrous Life of Oscar Wao is focused on the hyper-masculine culture of the Dominican, and many argue that his portrayal of the slew of women in the novel is misogynistic because they are often silenced by the plot and kept out of the narration (Matsui). However, Diaz crafts strong women, and it is society that views them as objects. The novel recognizes the masculine lens of the culture while still examining the lives of resilient women. In this way, the novel showcases a feminist stance and critiques the misogynist culture it is set in by showcasing the strength and depth of these women that help to shape the narrative while acknowledging that it is the limits society places on them because of their sexuality
Torres, Hector Avalos. 2007. Conversations with Contemporary Chicana and Chicano Writers. U.S.: University of New Mexico press, 315-324.
The story “Woman Hollering Creek" by Sandra Cisneros describes the lives of Mexicans in a Chicago neighborhood. She depicts the life that women endure as Latino wives through her portrayal of the protagonist, Cleofilas. For Cisneros being a Mexican-American has given her a chance to see life from two different cultures. In addition, Cisneros has written the story from a woman’s perspective, illustrating the types of conflicts many women face as Latino wives. This unique paradigm allows the reader to examine the events and characters using a feminist critical perspective.
Moraga, Cherrie. “Queer Aztlan: the Reformation of Chicano Tribe,” in The Color of Privilege 1996, ed Aida Hurtado. Ann Arbor: University Michigan Press, 1996.
...community, equal rights and the right to follow your roots) with the central focus of the poem. As Susan Bassnett states in her essay Bilingual Poetry: A Chicano Phenomenon , there is a “Latin American tradition of the poet who occupies a prominent place in the struggle for freedom and national unity”, and as Cervantes and Gonzales demonstrated, the poet’s role in Latin America has not been diminished.
The eternal endeavor of obtaining a realistic sense of selfhood is depicted for all struggling women of color in Gloria Anzaldua’s “Borderlands/La Frontera” (1987). Anzaldua illustrates the oppressing realities of her world – one that sets limitations for the minority. Albeit the obvious restraints against the white majority (the physical borderland between the U.S. and Mexico), there is a constant and overwhelming emotional battle against the psychological “borderlands” instilled in Anzaldua as she desperately seeks recognition as an openly queer Mestiza woman. With being a Mestiza comes a lot of cultural stereotypes that more than often try to define ones’ role in the world – especially if you are those whom have privilege above the “others”.
Jackson, Carlos. “Lecture #7.” Intro to Chicano Studies 10. University of California Davis. Keliber 3. 22 October 2013.
The struggle to find a place inside an un-welcoming America has forced the Latino to recreate one. The Latino feels out of place, torn from the womb inside of America's reality because she would rather use it than know it (Paz 226-227). In response, the Mexican women planted the seeds of home inside the corral*. These tended and potted plants became her burrow of solace and place of acceptance. In the comfort of the suns slices and underneath the orange scents, the women were free. Still the questions pounded in the rhythm of street side whispers. The outside stare thundered in pulses, you are different it said. Instead of listening she tried to instill within her children the pride of language, song, and culture. Her roots weave soul into the stubborn soil and strength grew with each blossom of the fig tree (Goldsmith).