1. In your essay "Out of the House, the Halo, and the Whore's Mask: The Mirror of Malinchismo", you discuss the method in which the gallery was gendered. There seems to be a common theme within not only the Latin@ community, but several communities of color, that women should be the caregivers of the family. As women, we are commonly seen to be the ones to are forgiving and are seen as mothers. The gallery clearly illustrated this theme among the female artists. Do you believe that upcoming Chicana artists must try to deviate from creating images of Latinas as mothers in order to erase some of the obligations Latinas feel to unhealthy relationships? It is difficult for Chicanas that abide by cultural norms to even get their art featured in a gallery, so what obstacles do you predict will be in store for Chicanas who portray Chicano culture in a way that has never been seen before?
2. In your essay "There's No Place like Aztlan: Embodied Aesthetics in Chicana Art", you explain that Aztlan is about "remembering but not returning" (Gaspar De Alba 135). I have friends and family that find themselves lost in whirlpool of cultural identities. I have a friend who identifies as Ecuadoran and Czech but since he has grown up with his Ecuadoran mother, he finds it easier to easier to visit his "Ecuadoran roots". However, he admitted to me that he wants to go to the Czech Republic to "visit the motherland". Can it be argued that those with direct European ancestry are encouraged to ignore their Aztlan identity because of the privileges they receive by identifying with their mythical European homeland?
No comments:
Post a Comment