Artist Statement In this artist statement I plan to address a borderland space in reference to neighborhoods, also known as redlining. I also plan to discuss the discrimination associated within these particular neighborhoods. A description of goals of the work that I produced and lastly what inspired me to specifically choose this borderland space. The borderland space I choose to discuss was Los Angeles County. The county itself is filled with over 80 cities
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
the section “Entering Into the Serpent” from Anzaldúa’s This Bridge Called My Back, she responds to a problem of oppression women face in particular the sexual oppression. She makes a connection between women and snakes to further discussed the whore/virgin dichotomy. Then goes into how this dichotomy causes women to be stripped of their sexuality almost to an inhuman way. In this form, Anzaldúa lays out a criticism of society and its treatment towards women. The opening to this section is the lyrics
nothing but numbers and aren’t accurate in this matter. I would like to prove myself to those who believe Black and Brown individuals can not achieve the same or more than white individuals. My family’s story relates to the course reading “Borderlands”. In “Borderlands” the people of Mexico struggle to go to the U.S. which I believe relates to my family because it was also difficult for my family to come to the land of opportunity to better their lives and especially their education. The people I will
This essay will focus on racial borders within Canadian literature looking at the effects of a border on a member of a minority group. “The border is in fact also the symbol of the exclusionary practice inherent in the discourse of the nation.” Canada is a country made up largely of immigrants and their descendants, an interesting question is, what caused a country, with a diverse population to be so deeply racist?. Two novels which will reflect the experience of a members of immigrant groups
authentic self. She published her most prominent work in 1987, a book titled Borderlands/La Frontera: The New Mestiza. In Borderlands, she write of her own struggle with coming to terms with her identify as a Chicana, an identity that lies at the border between Mexican and American. For instance, she writes,“we are a synergy of two cultures with various degrees of Mexicanness or Angloness. I have so internalized the borderland conflict that sometimes I feel like one cancel out the other and we are zero”
Anzaldúa’s Genre Borderlands Gloria Anzaldúa writes of a Utopic frame of mind, the borderlands created in and lived in by the new mestiza. She describes the preexisting natures of the Anglos, Mexicanos, and Chicanos as seen around the southwest U.S. / Mexican border, indicative of the nations at large. She also probes the borders of language, sexuality, psychology and spirituality. Anzaldúa presents this information in various identifiable ways including the autobiography, historical/informative
In Borderlands, the realities of what happens by the border instill the true terror that people face every day. They are unable to escape and trapped in a tragic situation. After reading my three classmates’ papers, I was able to learn a lot more about this piece than I originally encountered just on my own. I was able to read this piece in a completely new light and expand on ideas that I did not even think of. I was able to relate to when Jessie said that borders are symbols of the divisions we
of the railroad, the years before the Mexican Revolution, the land reform in 1936 and 1937, the implementation of the maquiladora program and the 1994 North American Free Trade Agreement (NAFTA) has had a significant impact on the U.S. Mexican Borderlands. The implementation of railroad throughout the Mexico and its border region had a great impact on the economic and population growth of Mexico during the late 19th century. Ganster and Lorey explain in their book “The U.S.-Mexico Border into the
Anzaldua describes borderlands as a war between races and social classes, but for me it’s different than that because for six years of my life, I went to private (Catholic) school. Private school always seemed better than other schools until I left and had to face the real world. At school, all students had to wear the same uniforms, girls wore plaid skirts and boys wore khakis. From kindergarten until third grade, girls had to wear a sailor like shirt with a cardigan sweater while boys were allowed
The Borderlands: 1880 - 1940 The time of change in the region called the "borderlands" occurred during the period between 1880 and 1940. The region became urbanized and ended its years of isolation from the rest of the world. In the past the region's economy was based on ranching and farming. As the region became more urbanized the economy changed. The economy did not change equally between the United States and Mexico, the United States' side of the border boomed while Mexico's side did not
core of who we are as individuals, the conscious experience of the self-inside. (Kaufman cited in Anzaldúa, 1987, p.84) The objective of this essay will be to interpret the contradictions of identity produced in the movie Fresa y Chocolate and The Borderlands. When personal identity, is stifled and shaped by nationalistic discourse. By examining the polarised dichotomies of self-identity, juxtaposed against the internalised and dominant hegemonic discourse of imposed National and cultural identity. The
still retain the ability to function,” F. Scott Fitzgerald wrote, but a survival trait for those who live in the Borderlands. Gloria Anzalda's account of her life growing up near the U.S./Mexico border and taming her cultural multiplicity in “Borderlands” advises her readers of the consequences of disparaging traditional ideologies. Anzalda’s concept of the “consciousness of the Borderlands” validates those of a unique identity that cannot be repressed into a single archetype and encourages the amalgamation
Alexandra Loebrich Women’s History 10/6/2014 Borderlands/La Frontera Gloria Anzaldua was born to a sharecropper/field-worker parents in South Texas. She spent most of her time as a child reading and writing. She has won a lot of awards for her work, the Lambda Lesbian Small Book Press Award, an NEA Fiction Award and many more. Borderlands La Frontera was chosen by the Literary Journal as one of the top 38 Best Books of 1987. The book goes into detail and examines the lifestyle of women in Latino
Growing up people would ask me where I was from, I would answer Queens. There was never a doubt in my mind that this is where I am from since this is where I was born. People would often tell me that I’m not from Queens since my parents are immigrants. I’ve always felt that I’ve had to fight to say where I’m from. These constant battles came from family members, friends, and strangers. It always had questioning my language and personal identity. My family members would say I’m Mexican but I don’t
Harry Potter franchise) or through studies inside and outside of the classrooms. Gloria Anzaldúa adds to the list of influential authors as her novel Borderlands/La Frontera: The New Mestiza has “the power to change minds” (Cantú and Hurtado 1), and has been taught in classrooms particularly geared towards women studies and feminist theory. Borderlands is a metaphor that conveys the limitations- socially, culturally, geographically, and sexually- within the border of two counties, particularly the
In Borderlands/La Frontera: The New Mestiza, Gloria Anzaldua recalls lived experiences of oppression and the matric of domination. She uses her writing as an act of rebellion from her culture that outcast her. It entails Anzaldua and her family’s history of oppression, her memories of their hard work and contradictions, and her knowledge of her ancestry in the borderlands. She calls out two contrary frames of reference, the Mexican and the American, which depend on the dualities of the racist, the
I immediately decided to to interview my brother, Henry Ropella, for this project after reading Borderlands/La Frontera: The New Mestiza by Chicano author Gloria E. Anzaldúa because I was struck by the poignancy of the preface, “Living on borders and in margins, keeping intact one's shifting and multiple identity and integrity, is like trying to swim in a new element” (19). Henry is twelve years old, in middle school, and is Latino, my family having adopted him from Guatemala when he was a baby.
Borderland Identities and Experiences In Gloria Anzaldua’s Borderlands/La Frontera, she has explored the conditions of living in the borderlands and stream of consciousness as it relates to her Mestiza identity and awakening. Anzaldua’s borderland goes above and beyond the physical borderlines created by the ‘white’ hegemonic powers to keep out people of color from ‘white’ America. Instead Anzaldua’s borderland encompasses all those people that have become minorities due to their inferior status
Gloria Anzaldúa’s Borderlands/La Frontera challenges how we think about identity and presents borders as psychological, social and cultural terrains that we both inhabit, and that inhabit us. Her strong sense of history and the telling of her own narrative give Chicanos a human identity independent from the hegemonic white American narrative that posits them as nonhuman and other. She works to give a face to Chicanos and a choice. In her words, she wants to give Chicanas the ability, “To choose whether