For centuries, the Mexican-American experience has been one of adversity and endurance. The plight of these native peoples has been ignored and many times erased from the American conscience. They have struggled for acknowledgment, they have fought for equality and they have gone to battle for respect. Luis Valdez’s play, Los Vendidos, is just one of many contributions to this effort. A powerfully moving play, Los Vendidos, or the "sell-outs", is a piece created to gain acknowledgement, heighten awareness and to create a sense of camaraderie amongst the people fighting in the Chicano Movement of the late 1960’s and 70’s. Created by a population that had been victimized, beaten and driven to the ground by the powerful grip of American society, this work is just one example the artistic medium of expression used by the participants of the Chicano Movement. This play addresses numerous issues regarding the Mexican-American experience and the attempts to "Americanize" a population that was prevented from assimilating into American culture and society. However, some of the issues presented that I found to be most intriguing were the portrayal of both women and war veterans in addition to the overall Anglo-American reaction to the Mexican-American people.
Set in a barren storefront the sales man, Senor Sancho introduces the audience to his "used Mexican lot". Within the store, roughly a dozen models are stationed, immortalized in their eras. These models are the embodiment of the stereotypes that American society has imposed on the Mexican-Americans for the last several centuries. As Ms. Jimenez peruses the store in search of an appropriate Mexican-American to take to the governor’s luncheon, she critiques and rejects each model pres...
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...e way in which Mexican-Americans have been treated in this country is certainly less then humane. Yet their progress and success is notable. Today, although work still needs to be done, the Mexican-Americans have made America hear their voices; they have claimed some of the power that they had always deserved, and they are using it to make that needed difference. Change is always possible but in this case, it was far from easy.
Bibliography
Chicano!: history of the Mexican American civil rights movement / produced by National
Latino Communications Center and Galán Productions, Inc., in cooperation with KCET, Los Angeles.
Ruiz, Jose Luis.
Los Vendidos: produced by Luis Valdez
Vargas, Zaragosa. Major Problems in Mexican American History. Boston: Houghton Mifflin Company, 1999.
http://www.utexas.edu/ftp/student/subtex/.web/Groups/crossborder/emma.html
Norma Elia Cantu’s novel “Canícula: Imágenes de una Niñez Fronteriza” (“Canícula: Snapshots of a Girlhood en la Frontera”), which chronicles of the forthcoming of age of a chicana on the U.S.- Mexico border in the town of Laredo and Nuevo Laredo in the 1940s-60s. Norma Elia Cantú brings together narrative and the images from the family album to tell the story of her family. It blends authentic snapshots with recreated memoirs from 1880 to 1950 in the town between Monterrey, Mexico, and San Antonio, Texas. Narratives present ethnographic information concerning the nationally distributed mass media in the border region. Also they study controversial discourse that challenges the manner in which the border and its populations have been portrayed in the U.S. and Mexico. The canícula in the title symbolizes “The dog days of 1993,” an intense part of summer when the cotton is harvested in South Texas. The canícula also represents summer and fall; also important seasons and concepts of that bridge between child and adulthood. She describes imaginative autobioethnography life growing up on ...
This is critical for the readers to know the show the bias, injustice, and premeditated ignorance of the United States educational system. It also demonstrates that Chicano Studies is not important regardless of the Hispanic population in this supposed “free” country. It seems as if the Chicano Studies was made only to fail by keeping it under funded and understaffed. By doing so, it has an affect on keeping away good scholars to maintain the historical development of Hispanics in the United States as well as its own history.
This book was published in 1981 with an immense elaboration of media hype. This is a story of a young Mexican American who felt disgusted of being pointed out as a minority and was unhappy with affirmative action programs although he had gained advantages from them. He acknowledged the gap that was created between him and his parents as the penalty immigrants ought to pay to develop and grow into American culture. And he confessed that he got bewildered to see other Hispanic teachers and students determined to preserve their ethnicity and traditions by asking for such issues to be dealt with as departments of Chicano studies and minority literature classes. A lot of critics criticized him as a defector of his heritage, but there are a few who believed him to be a sober vote in opposition to the political intemperance of the 1960s and 1970s.
As you read you can picture his settings and characters. For the purpose of this book review, the reader will discuss how a migrant community in search of the “American Dream” encounters the “American Nightmare” as described by Tomás Rivera in his novel, “ …And the Earth Did Not Devour Him.”
Torres, Hector Avalos. 2007. Conversations with Contemporary Chicana and Chicano Writers. U.S.: University of New Mexico press, 315-324.
She explains how Mexican and Chicano literature, music, and film is alienated; their culture is considered shameful by Americans. They are forced to internalize their pride in their culture. This conflict creates an issue in a dual culture society. They can neither identify with North American culture or with the Mexican culture.
Literary magazines were not remotely interested in publishing Gilb’s stories, which focus primarily on the professional and personal struggles of working-class Mexican Americans. But his unapologetic stories about working-class Mexican Americans have made him a voice of his people (Reid130). Gilb’s short stories are set vividly in cites of the desert Southwest and usually feature a Hispanic protagonist who is good-hearted but often irresponsible and is forever one pink slip or automotive breakdown away from disaster (Reid130).
Although it is desirable to incorporate personal experiences of others to get a feel of the encounters that occurred to the typical or atypical individual within the Chicano movement, this does not entirely mean that the filmmakers left out those who studied the history of it. Historian Mario T. Garcia was a prominent addition in contributing to the historical experiences within the movement and brings in credibility. The concept of utilizing Chicanos who endured the reign of oppression and discussed their involvements to the impartiality efforts was a thrilling and clever one, there was still a need of a backbone in the factual side of it. By introducing an essence of experience, it generates a personal and emotional aspect in the documentary that can be unfavorable and stray from the informative attitude of a documentary. Having Garcia apart of the documentary grounds this enlightening dimension that insights as preventative measure which is an adept move on behalf of directors Luis Ortiz and Antonio
In Michelle's paper she recaps the history of Mexicans in the United States that was not completely dealt with in either the website or the movie. Michelle points out that the Latin@s history is essential to understanding the Mexicans experience. She also wrote of the Mexican's el movemiento and how the website and movie brought about different accounts of this momentous event.
To say that immigrants in America have experienced discrimination would be an understatement. Ever since the country formed, they have been seen as inferior, such as African-Americans that were unwillingly brought to the 13 colonies in the 17th century with the intention to be used as slaves. However, post-1965, immigrants, mainly from Central and South America, came here by choice. Many came with their families, fleeing from their native land’s poverty; these immigrants were in search of new opportunities, and more importantly, a new life. They faced abuse and Cesar Chavez fought to help bring equality to minorities.
The role of strong female roles in literature is both frightening to some and enlightening to others. Although times have changed, Sandra Cisneros’ stories about Mexican-American women provide a cultural division within itself that reflects in a recent time. The cultural themes in Cisneros’s stories highlight the struggle of women who identify with Mexican-American heritage and the struggle in terms of living up to Mexican culture – as a separate ethnic body. The women in Sandra Cisneros’ stories are struggling with living up to identities assigned to them, while trying to create their own as women without an ethnic landscape. In Sandra Cisneros’ stories “Woman Hollering Creek: and “Never Marry a Mexican” the role of female identities that are conflicted are highlighted, in that they have to straddle two worlds at once as Mexican-American women.
... to exist in our days, needs to be changed more if we ever want to achieve a true progression in our economy and society where not only the rich get the biggest piece of the pie. After researching a little and analyzing numbers and statistics from the past and present, fifty-one years have done two basic things to the harvesters of shame, their wages have improved a little bit and the ethnicity of the workers has changed from poor whites and blacks to poor Hispanics, bringing new factors into play such as the pros and cons that hiring immigrant workers bring to companies. Even though, these potential improvements appear to be substantial and beneficial shifting the views many workers and farmers had in the past, not all people receive the same treatments and benefits some companies share, thousands of immigrant workers have become the new mute slaves of America.
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”.
Montoya, Margret E. "Masks and Identify," and "Masks and Resistance," in The Latino/a Condition: A Critical Reader New York: New York University Press, 1998.
As Martin Luther King, Jr, described, oppression is a worldwide problem, however though the most crucial group is the Mexican immigrants in America, due to the economical, educational, and societal discrimination they face in a country where is everyone is said to be free; consequently though due to anti- immigration groups and non- acceptance in America, this problem has remained unsolved, and will remain so until people can learn to accept people for who they are, and not where they come from.