Afro Mexic The Immigrant Rights Movement

Moreno asserts that ““Too many times, we have read our history books that have been written by Europeans, and it has had a tremendous impact in the way we view our culture and listen to our music. I do think that our identity is lost with it and at some point, we try to find it again later in life” (7). Students are able to see a different point of view rather than only the perspectives of textbook writers who at times deprive students from the full truth and the media who exaggerates or embellishes the truth. Many artists and musicians express their anger and oppression through music and students are able to listen to this and get the complete synopsis of problems happening in the world. For instance, in “The Embodiment of Salsa: Musicians, Instrument and the Performance of a Latina Style and Identity,” Patria Roman-Velasquez argued that the embodiment of salsa develops through specific practices whereby instruments, performance techniques, vocal sounds, bodily movements and ways of dressing are encoded and experienced as part of a particular Latin identity. Therefore, this expressing that music has much of an influence in Latin identity and the construction of identity and

The 1960’s comprised of many different movements that sought the same goal of achieving equality, equality in means of: political, economical, and social equality. Two similar movements emerged during this era that shared the same ideologies: the Chicano and the Black Power Movement. Both shared a similar ideology that outlined their movement, which was the call for self-determination. The similar experiences that they had undergone such as the maltreatment and the abuse of power that enacted was enacted by the dominant Anglo race helped to shape these ideologies. Despite their similar ideology, they differed in how they achieved this goal, by either obtaining political participation or going to the extreme as using force to achieve their

Mexico’s drugs wars as well as bloody drug cartels are echoed in a controversial folk music genre commonly known as narco corridos or simply as drug ballads. They tell the stories allied to shootouts, drug lords, betrayals including daring criminal operations. Narco corridos are not a new style in Mexican music, in fact, they have been around for years, and they are popular among the old and the young. This genre has evolved to be modern fugitive music that fuses the emotional responses of antique ballads with the tense gravel of mobster rap. From global idols to rural artists documenting their neighborhood current events in the regions subjugated by guerilla war, narco corridos provides the songwriters in their homes with unique but

African American influence in music has been an ever present and controversial subject in American history. Stemming from many different cultures, religions and backgrounds, large portions of American music was introduced by, and credited to African Americans. Although in many cases, this music was used for entertainment by the masses or majority, contrary to popular belief, black music served a greater purpose than just recreation. Dating all the way back to the beginning of slavery in the U.S. during the 17th century, music has been used to make a statement and send a message. As African American music progressed over the years, there were common themes expressed as the genres evolved. It has been an open letter to the world, documenting and protesting the ongoing oppression faced by blacks in the United States, as well as an outlet for frustration. For many African Americans, the music gave them the only voice that couldn’t be silenced by their oppressors.

The Movement from Mexico to the USA was a great change for a child. There were many new things there that would make a nine year olds mind confused, but people get over it. The recklessness inside the mind of the child didn’t let them think of a new thing as exciting.

A significant struggle during the Chicano and Black Civil rights movement was employment, and discrimination in the workplace. First, a case pertaining to this issue during the Chicano movement was Bernal v. Fainter in the year 1984. This was a case where the Supreme Court of the United States « ruled that the Equal Protection Clause prohibited the state of Texas from barring noncitizens from applying for commission as a notary public.» The result of this case came about, as the court realized, that there is no requirement for a notary to be a citizen, but the the only real necessity is that they follow the law. On the other hand, this case points out that a noncitizen may be unable to become a police officer or any other type of government worker that is required to « act on behalf of the state and have considerable discretion in how the law is enforced. »

In my speech I will explain the social construction of race and the Black/White paradigm, followed by focusing on why and how Mexican Americans fought for the white label during the Civil Rights era, and finally analyzing how this choice affected the relationship between Mexican Americans and African Americans

There are different approaches used when discussing the survival of indigenous visual cultures. Each essay provided for analysis interprets the conquest of the Americas differently and connects it to Colonial Mexico artistic production at various degrees. Each essay also advocates for its own term that can be used to represent the process of Spanish and Indigenous art forms coming together in a complex cultural context. Kubler advocates for the term, folk art to describe colonial art because it is art production that is devoid of its past meaning. His views on conquest explicitly claim that the Spanish conquest was successful due to Spanish superiority over Indigenous cultures. However problematic his claims are, he is able to dissect the forms used by the Spanish conquest to gain control over artistic production. Mestizo, is the term used by Neumeyer to describe the mixing of two art forms that can only be apparent when Indigenous people reached a high aesthetic culture during the conquest. He also promotes the idea that Colonial art was continuously developing. However, his views of Indigenous art is that it is unable to compete with European modes of art. Finally, Dean and Leibsohn use to the term hybrid as a production and enactment that challenges norms. “Hybridity and Its Discontents” is the most liberal of the three readings. It uses the term hybrid as a way to critique the cultural context in which it was able to be produced; Spanish conquest. It also, critiques

There are multitudinous types of Chicano music that include all types of instruments, verses, backgrounds, and purposes. According to Tatum (2001), “The popular Hispanic folk music has deep roots in Spain and Mexico, but it is a living cultural form that is forever changing and adapting to new social conditions and musical currents (Robb 1980, 5)” (p.15). Modernization also plays a key role in the diversion of Chicano music. For example, as new instruments were being invented, they were then incorporated into the music, making it sound more different and attractive. The types of Chicano music range from romance which could narrate an event, corridos, which was a form of cultural differentiation, alabanzas, which were specifically religious, and the canción, in which lovers expressed their deep adoration for each other (Tatum 2001). If a man who was lost in his woman’s eyes wanted to choose a song for their

More than a century of prejudice against one of the largest minority residing in the United States that continues today. To these days Hispanics are targets of discrimination and are not offer equal opportunities in jobs and education. The roots of discrimination go back to the end of the Mexican War when thousands of Mexicans became American citizens overnight. The sign of the Treaty of Guadalupe Hidalgo not only transfer land to the United States but also the people that live there before it became territory of the United States. These people began to suffer from discrimination in their owl land. Their sons and daughters did not have better luck because even thought they were born in the United States therefore they are American citizens

One of the primary aspects of colonial Spanish life that is depicted in many Casta paintings, and represents signifiant racial tensions at the time, is the depiction of mixed race, or mixed nationality people, who are present, or the subjects of many Casta paintings. Although the Casta system, and the Casta paintings that depict this system encompass a wide and deeply complex racial hierarchy, there are some significant racial distinctions that are prominent in many Casta paintings. Some of the main racial and national distinctions seen in many Casta paintings are, Criollos (Mainly Spanish, or other Europeans who were born in America), Mestizos (A person with one Native American parents and one European parent), Mulatos (A person with one African parent and one European parent), and Negros (African). Although these terms would often be considered to be highly offensive in modern day America, they are culturally relevant, as they were commonly used at the time of the Casta system. This essay will explore the depictions of these four groups of people in Casta paintings, and how these paintings help to illuminate the racial tensions, hierarchies, and cultural changes occurring in Hispanic America during the 17th century.

A cultural analysis is a combination of many elements. Cultures have traditions, customs, habits, beliefs, practices, and values. Each culture can have different traditions in their own essence. These traditions can come from their ancestors ' and passed down the generations. However, some people don’t like to continue their ancestors traditions and adapt others customs from another culture. The culture change depending on the time and place. The enrichment of cultures consists of adaptation and acceptance of another culture 's beliefs. Not all of the people can tolerate other cultures, traditions, languages or stereotypes. Cultures attack or support other cultural values The Mexican culture is hard-working and are strict in their values and traditions. The power and oppression of the cultures are current; social and economic conditions in the people in cultures. The Mexican culture has social and economic conditions oppressed by the power of its Government. In the play “Los Vendidos” Luis Valdez, talks about the multiple accent and background of Mexican people.

The Chicano movement, also known as El Movimiento, was a civil rights movement that began in the 1960s with a primary objective of attaining empowerment and self-determination as well as rejecting and confronting the history of racism, discrimination and disenfranchisement of the Mexican-American community and was much more militant than movements prior to it. Some issues the Chicano movement dealt with were farm workers’ rights, political rights, better education and restoration of land grants. Additionally, the movement sought to gain social equality and economic opportunity. The movement strove to tackle the stereotype the media and America synonymized with Mexicans. The Chicano movement was influenced by progress made in movements such as the Black Power Movement, antiwar movement and various others.

In my personal experience, Mexican music has revolved around my life for as long as I can remember. Growing up in a bordertown has its Hispanic heritage. Whether I was at home, school, or even in public places, I would hear Spanish related music playing in the background. I believe Spanish music holds many values when it comes to different occasions. The music can manipulate the minds of its listeners using love, passion, and outstanding rhythms. After reading an article online, I can explain how three different genres of traditional Mexican music influence people’s culture.

The prevailing attitude of white supremacy was the justification Americans used to “rescue the wilderness from backwardness, indolence, and disorder”(De Leon 65). Mexico in its earliest days was primarily Indian, but the infusion of both Spanish and black blood made it harder to define Mexicans. White Anglo-Americans believed “their contrast to ‘white’ and salient kindred to ‘black’ and ‘red’ made Mexicans subject to treatment commensurate with the odious connotations whites attached to colors, races, and cultures dissimilar to their own” (De Leon 6).