Gaspar de Alba and CARA's Politics of Representation

Although published in 1998, the palabra of Professor Gaspar de Alba in chapter three of “Chicano Art Inside/Outside the Master’s House” remains very relevant today. Chicanas in el movimiento continue to be marginalized and unacknowledged for their efforts due to machismo and patriarchal values that have been instilled into our communities through colonization. As Gaspar de Alba states, Chicana feministas were linked to white feminism, resulting in seeing them as a threat to the core values of their “inherent” roles madres and familias. Therefore, they were seen as “Malinches” for politically and sexually selling their mindbodyspirit to white oppression (p. 128). This false believe that muxeres who established a consciousness that validates their intersectional identities, as muxeres of color and Queer muxeres of color, is fueled by the belief that men have the power over our bodies. I believe that this is the main critique that Gaspar de Alba is making—Chicana representation is not authentic if it the representation does not come from them. Gaspar de Alba introduces this notion that I had not known before: circumstantial identity and its role in Chicana feminist art (p. 132). By decolonizing the female body and mind by transforming it into an active agent to uplift and validate the voices that have hxsotrically been marginalized through affirming and transcending the circumstances that work to demobilize them is truly admirable and helps inform my own identity as a Queer Muxer of Color.

One piece in particular that I’d like to highlight of the CARA exhibit is Isabel Castro’s “Women Under Fire” (1979) where there is an image of a pachuca with a target on her chest. Having been privileged enough to see this piece and other works from the series at the Hammer Museum last year, as well as the ability to have watched the documentary this series was based off of called “No Más Bebés,” hits me visually, emotionally, and spiritually. I feel it is important to highlight this piece in particular because of the meaning behind it that deserves more attention in communities of color. These muxeres were sterilized when giving birth, without giving doctors the consent to do so, but were tricked into do so as a form of upholding this “racially pure” society we live in. The state, white men, and often times men of color, are so scared of the poder muxeres hold that they do anything to control and confine their bodies and minds. However, we continue to survive and exist despite the constant attacks on our communities. I admire Gaspar de Alba and the other resilient Chicanas in the CARA exhibit who although may not have been portrayed the way accurate representation should have, their work continues to inspires and empower Chicanas and Queer Murexes of Color to this day.