Carmen Lomas Garza: Cakewalks

In Carmen Lomas Garza, chapter two, “Politics and Life in Tejas: From Tejana to Chicana,” discussed the relationship between Garza’s sociopolitical experiences and her art. Some of the main points in the chapter, which explain her transformation “from a Tejana to a Chicana,” include her family’s activism with the American GI Forum, her political engagement with the Mexican American Youth Organization (MAYO), and her overall experiences― from her childhood to early adulthood― living during such a hostile and segregated environment. My favorite image from the chapter and book was, Cakewalks, 1987, acrylic on canvas, which illustrates a number of individuals engaging in a  number of things. From adults dancing and talking to children playing, the artwork goes beyond being just a social gathering, rather depicts political organizing and support. When I think of being a Chicana I think of community effort, leadership, and socio-political consciousness to name a few. In turn, I believe the image highlights the impact of political organizing and advocacy within the Chicano community. Garza essentially found herself in the service of others, and thereby, claimed her Chicana identity. The quote I thought best summarized the artwork was, “her closeness to her family and community, who provided support and tenacity, and her sense of social justice, drove her to make an early commitment to her art” (28).  In other words, Garza’s relatives and the injustices that surrounded her influenced her to produce art that was not only relevant to the Chicano community but was also politically engaging; as a result, she discovered her self-identity.

  

Cakewalks, 1987. Acrylic on canvas, 36 x 48 inches.