The Latina/Chicana

Artworks have played an indelible work to the lives of humanity. The creative nature in Artists is a complex matter to define. The uncertainties in the intrinsic nature in art lay difficult aspects that can only be answered by values, themes and skills depicted in an artist artwork. Apart from playing the intricate psychological effect on humans, the artworks have been used as a tool of expression that has been revered and uniquely preserved for future generation. Among some of the most revered modern forms of artwork has included Chicano Art that had a core relationship to Las Carpas, Indigenismo, rascuachismo and other forms of performance art.

“This performance draws upon both ‘traditional and contemporary arts and cultural practice. The integration of… contemporary performance art and modern theatrics to form of cultural hybridity.”

The two live dance works viewed this year were “Emergence”, performed by Sydney Dance Company, choreographed by Rafael Bonachela, performed at the Princess Theatre and a recorded dance performance titled “Image”, choreographed by Jason Northam and Liesel Link. The two dance performances substantiated were exceedingly diverse and dissimilar. The two performances juxtaposed their intentions and interpreted opposing elements through diversity in movement vocabulary, structural devices and form, performance skills and technical elements.

acques LeCoq, a French practitioner and Augusto Boal, a Brazilian practitioner both aim to take their actors and the audience on a journey of discovery. Both Practitioners believed in ‘Freeing’ the body and making it ‘De-mechanicalized’ to enable full interpretation. LeCoq and Boal both use emotion, imagination, extensive body movement, playfulness and political matters to create their methods of theatrical practice.

In the beginning, there were mothers. Like goddesses they create life, nurturing their offspring into adulthood and beyond. Through wisdom, culture, and tradition they educate their young on the wonders of life, gracing us with the opportunity to follow in their footsteps to become mothers ourselves. Through the study of Chicana feminism, it becomes apparent how motherhood is a recurring theme throughout much Chicana feminist art and literature, often discussing how these women fostered growth in multiple facets of their being through their general life experience. Perhaps, this is due to the role of a mother weaving the lives of their children, nursing them, guiding them, and creating a life that implements their own values and beliefs. They have the opportunity to create a mirror image or even an entirely new and improved version of themselves. Whether the maternal figure is a hero or villain, traditional or nontraditional, tangible or fictitious, these characters play a vital role in shaping the Chicana feminism we see today.

Although Fusco created a documentary on the live experimentation that Gomez-Pena and she have created to criticize Westerners on how they view and treat “Others” or primitive people, but her editing decisions on “The Couple in the Cage,” may have skewed the viewers the understand her satirical piece without viewer’s own personal opinion or interpretation of the performance. Comparing the live performance and to Fusco’s video, there were properties that the live performances did not have but the video did have. In the video, Fusco purposely placed videos and pictures of freak shows to juxtapose her performance to deliver same ethnocentrism that she experienced in the cage and the freak show performers who also faced the same problem. When the spectators paid to take pictures with Fusco and Gomez-Pena, there was

n an oral history interview conducted in 2011, Chicana scholar Keta Miranda shared a startling observation about her experiences during the early days of the Chicana/o movement.1 In 1969, Miranda, who was becoming increasingly involved in the student movement in Los Angeles, traveled to Denver to take part in the first Chicano Youth Liberation Conference. She vividly recalls participating in workshops on electoral politics, police repression, and education, all of which were meant to set a nationalist agenda for the Chicana/o movement. The first Youth Liberation Conference responded to a pressing need to unite an array of decolonial struggles for Chicana/o self-determination—from the land-grant movement in New Mexico and Arizona ðled by Reies

Unfortunately, not everyone who searches for help will receive a positive experience. There have been negative interactions with IPV survivors and agencies that have impacted Latina women (Postmus et al., 2014). As mentioned in Rizo and Macy’s research (2011), Latina women who have been victims of partner violence may not be able to speak English. This creates a language barrier when communicating with agencies because some agencies do not have a Spanish speaking staff, which results in an uncomfortable environment (Rizo & Macy, 2011). Also, some staff have asked survivors of IPV for their status, which has created fear in women who are seeking help (Rizo & Macy, 2011). Some agencies have limited funding which do not allow them to have services that could benefit Latina women (Postmus et al., 2014). These limited services have made Latina women and other women of marginalized groups to feel

The role of outward appearance has always been a large component in the process of how a person is viewed. The way an individual looks to others highly influences how the individual is perceived by the world around them. This concept is supported in the essays The Myth Of a Latin Woman: I Just Met a Girl Named Maria by Judith Ortiz Cofer and The Ugly Tourist by Jamaica Kincaid. Both of these authors faced persecution because of their outward appearance. Cofer accounts being misjudged because of her Puerto Rican race. Kincaid shares with her readers the concept of human misinterpretation because of the stereotype of tourism. Of the essays, The Myth of the Latin Woman: I Just Met a Girl Named Maria is the more effective to its purpose: to

In this ethnographic research paper, I will illustrate the background and origin of flamenco music and dance. By observing Miguel Bernal and his group 's performance of flamenco music and dance on Feburary 25th at the Culver Center of the Arts, I will demonstrate the characteristics of flamenco music and dance and it 's influences to people 's cultural identities and values. I will also interview one of the audiences from the performance about her point of view to the flamenco music and dance.

Gloria explains how Chicanas use their language against each other because of the dominant culture. Their language has been shamed by the dominant culture therefore causing Chicanas to be suspicious and hesitant of each other. (pg. 38-39). The dominant culture has told them that their language is wrong and attacked them to get rid of their language. Therefore, this language barrier and shame shows status between Chicanas and Latinas because Chicanas feel uncomfortable speaking Spanish to Latinas.

Women of Latin American culture have incessantly ensued the potent gender roles that have become a social construction of their society over innumerable decades. The profound author of Insurgent Mexico, John Reed, imparts his experiences with the revolutionary leaders of the Mexican Revolution, like Pancho Villa, and was able to witness their culture and more specifically the roles these Mexican women were forced to render by their chauvinistic counterparts. This period of revolution, started to grant women new mantles usually reserved only for men, like participating in fighting for the success of the revolution; any preeminent changes would soon approach, but in the meantime Mexican society run by men enjoyed the regulated traditional

In this essay I will be looking into the work of Marina Abramovic in relation to the Feminist movement. By looking at her work, I aim to emphasise her influence on this movement. In this essay, I shall also briefly examine the works of Abramovic, particularly Art is Beautiful, Artist must be Beautiful (1975) and four of her performances from her Rhythm series (10 (1973), 0 (1974), 2 (1974), and 5 (1974)). I shall describe the history of the Feminist movement and its influence in order to develop an understanding of Abramovic’s influence.

Any art medium can be utilized to tell a story or evoke emotion in a viewer. Artistry is unique in that it is purely visual and can be left to interpretation if the artist chooses to stay ambiguous in the message they are trying to convey. As an artist, I am always trying to analyze the meanings behind famous works of art, whether those meanings happen to be incidental or purposeful. So, when contemporary artist, Enrique Chagoya expressed his adoration for the social commentary expressed in Francisco Goya’s Los Caprichos sketches, I was intrigued.

This paper will explore a range of perspectives on the relationship between the live event and the document within performance practice, specifically focus on in relation to body, time and space. Performance art is commonly known as a performance presented to a viewer within a fine art context. Through performance artists emphasize the body’s role in artistic production. Historically, performance archive has been characterized as an unfaithful representation of the momentary art experience. Yet, in contemporary art the relationship between live performance practices and documentation has progressed towards reconciliation. Whether, the performance is scripted or unscripted, the performer’s body is present or absent. Performance art can happen in any type of venue and for any length of time. Documentation of performance practice documents the actions of an individual or a group at a particular place and in a particular time.