Chicano

In the novel, Always Running by Luis Rodriguez is a book that talks about Rodriguez’s economy and how society is during the 1960’s with the influences of gang members. Rodriguez comes from undocumented parents, who moved from Mexico to Texas for a better future. In the novel, Always Running by Luis Rodriguez is a book that talks about Rodriguez’s economy and how society is during the 1960’s with the influences of gang members. Rodriguez comes from undocumented parents, who moved from Mexico to Texas

Exploitation of Mexican-Americans The short play Los Vendidos portrayed by el Teatro Campesino shows the history of Mexican-Americans. It shows racist perceptions and actions towards Mexican-Americans. The title itself implies the exploitation of Chicanos. In translation from Spanish "Vendidos" can mean either those who sell-out others, or those who are sold. In the play either meaning can be applied. Those who are sold would be the eleven different characters that Sancho describes. But, the "sell-out"

As a child, I had no knowledge of what it meant to be apart of the working class. I could not grasp the concept of money and had always wondered why the kids at school were so different from me. Why was I always wearing hand me downs and patched up clothes while the other kids showed up to school with their nice looking clothes? It never occurred to me what my social status meant until the beginning of middle school. That was when I was aware that we had to resort to rasquachismo throughout the years

struggles known, calling themselves ARTivists to show that there is an often undervalued intersection between the two. But before the coining of the term, activists have been creating art to advance themselves and their communities. ARTivists within the Chicano community have especially been creating art in order to validate and record their own experiences. ARTivism is crucial in today’s society and culture as it intersects art and politics in order to emphasize injustices that are deeply rooted within

recognition and triumph of many Mexican-American soldiers went unacknowledged due to their ethnicity. Mexican-Americans were also labeled as criminals and murders due to media and their portrayal of Mexicans. Also, the meaning of being called a “Chicano/a” is also included and

(Molina 10). They try to find alternatives to directly challenge higher institutions, and in the process Chicanos create beautiful art, plays, zines, and many more creative projects that flourish into something much more. Rasquachismo is a way in which many people have performed politics where they use art or plays to be able to make their presence noticeable to the public. By using rasquachismo, Chicanos can represent their struggles and hopes for the future while practicing counter scripts. This is possible

identity – I am my language”(89). She emphasized the closeness relation between language, culture and identity and explaining that talking badly about her language is a way to hurt her. She can find some validation of her language and culture through Chicano books and Mexican movies. Except for language, or maybe to be more specific, concurrently and intertwined with language is the

The myth is embedded into the fabric of Chicano culture to the extent that even women who have never heard of the myth experience the affect of its existence. Women themselves perpetuate their inferiority; the author recounts a moment in her life when her emotional connection with her mother was interrupted abruptly by a telephone call from her brother. In this instance, the mother chose to speak with her son, the Chicano, over her daughter, the Chicana. What I wanted from

Like the Chicano character, the La Raza personality rose up out of the historical backdrop of political, financial, and social disappointment of Mexicans in the United States and their ensuing social activism (Gutierrez, 1995; Ochoa, 2004). The term was initially used to affirm that the mix of Native American and European societies created a capable and even predominant raza cosmica (astronomical race) (Vasconcelos, 1997). The 1960s Chicano development grasped a politicized Raza personality that

Edited by several scholars such as Gabriella F. Arredondo, Aída Hurtado, Norma Klahn, Olga Nájera-Ramírez, and Patricia Zanella, this book in particular highlights the development of Chicana identities in the twentieth century by showing “how Chicana feminist writings move discourse beyond binaries and toward intersectionality and hybridity” (Arredondo e.al. 2). What is interesting is how the feminist scholars in this book used different epistemologies and methods in capturing the experiences of