Duran, Lucero

Hello,

My name: Lucero Duran. Year: short answer is a readmitted Sophomore. Major - Undeclared-Humanities,  but I am hoping that at by the end of this academic year i can identity myself as an Art History and English with a  concentration in creative writing and a minor in Chicana/o studies.

In Gaspar de Alba's "There's No Place Like Aztlan: Embodied Aesthetics in Chicana Art Gaspar" she introduces the notion that identity and Chicana art is more than being influenced by one's home/ place of origin. She later goes on to say that Aztlán, especially during El Movimento, transcends the function of an average home and place of origin. Aztlán aesthetics appears to function more as a category that encompasses home/ gender/ race/ sexuality and many more makers of identity. So my question is… Is it safe to assume that Aztlán aesthetics goes beyond the place of origin? Does it accomplish to expand the boarder of art and bring forth new concerns and message to the public? And if Aztlán does go beyond, is this in part due to this place of origin being more of a myth and a symbol of the displaced Chicana/os?

In “Out of the House , the Halo, and the Whore’s Mask: the Mirror of Machismo” Gaspar de Alba mentions that it is important to consider gender when discussing political and social rules but to place gender as the sole issue it hinders the discussion of race and its struggle for equality within this country. Do you like that the introduction of Chicana Feminism hindered El Movimento? Or was this idea a male invention to prevent females from questioning the patriarchal society? And lastly would you considered the creation of clothing or festive decorations part of Chicana Art or are these objects too mundane?