In The Iconography of Chicano
Self-Determination: Race, Ethnicity, and Class, Shifra M. Goldman looks at
Chicano art to determine how individuals identify themselves. Within the movement, Chicano artists exemplify
their identity as conquered and oppressed people by challenging the hegemonic
system through their art. Artists did just that by commemorating their race,
class, and ethnicity. Having a sense of racial pride allowed artists to present
art that referenced their Aztec heritage. Next, ethnicity, which is developed
through generations, is associated with culture and is visible in times of
having to assimilate. Food, such as tortillas or beans, can be a reference to
ethnicity. Lastly, class addresses the economic position that Mexicans hold in
society while also depicting media misconceptions and the laborious work they
must endure. According to Goldman, cultural resistance, cultural maintenance,
and cultural affirmation were represented through art during the movement.
Yolanda M. Lopez
serves as a perfect example of how Chicana self-determination in her image The Nanny is portrayed. Right off the
bat, the issue of gender and class are addressed by displaying a women’s nanny
uniform. Unlike other art pieces by Chicanos, which only depict empowered males,
Lopez is specifically addressing the hard working women since their work goes
unnoticed. Since a nanny’s job is a working class occupation, Lopez is
demonstrating the empowerment of working class women and not that of middle
class. The posters hung up are an example of race and how the media constructs
identity. That is, people of color working while Anglos are depicted as being
free. Ethnicity, as mentioned earlier, can be acknowledged through food. The
cactus in the background is an indicator of ethnicity. Cactus plants are
sometimes associated with Mexico and I believe that Lopez included this as a
sign of her ethnic background. Lopez’s Chicana self-determination shows that
women of color through race, gender, class, and ethnicity are empowered
workers.
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