Moniz, Zora

Hi--

My name is Zora Moniz, I am a second year World Arts and Cultures major and I am planning on minoring in Public Health.

In Out of the House, the Halo, and the Whore's Mask: The mirror of Malinchismo, I am interested in the idea of "some members of the movement are more equal than others" and how this plays into not only the Chicano movement, but also civil rights movements in all cases. Does every radical civil rights movement still subjugate and oppress subgroups of people within the group they are fighting to liberate? Will and have women always had to wait to fight for feminist rights because they must fight for racial, ethnic, and class freedom first? What does this have to say about the validity and integrity of united groups of oppressed people if gender must always come second, and what does this mean for even further oppressed and disadvantaged groups such as LGBTQ communities, and people who identify with all-- queer feminist women of color?

There is no Place like Aztlan: Embodied Aesthetics in Chicana Art made me wonder about sense of place and aesthetics. Chicana and Chicano culture is somewhat defined by this mixture of place and time and the fluidity and the uncertain essence of what constitutes place when you are all at once displaced and grounded. What significant aesthetic tool or style is born out of this unstable definition of place for certain groups of people? Does it allow for art that is more untethered, creative, and imagined because it is not tied down to one specific place?