Blog #8: Border Arte

 In Border Arte (1993): Nepantla, El Lugar de la Frontera, Gloria Anzaldúa first describes the opening day of the Aztec: The World of Moctezuma musuem, where the culture of our indigenous ancestors is reflected in the different forms of displayed art. Although the Mexican art forms are ancient, their influence and symbols are still embraced and present in modern art forms. For example, Anzaldúa compares the energy of Coyolxauhqui, the moon goddess, to Yolanda Lopez’s portrait of La Virgen running. The beginning of the essay almost reminds us to recognize and embrace our indigenous roots. I found it most interesting how Anzaldúa addresses the problems found in museums and exhibitions where they treat the ancient art and the people as being dead and gone. Anzaldúa describes Western curators as only considering art from dead cultures to be worthy enough to be in museums. For example, she

Santa Barraza, Nepantla, 1995.      

Image from the reading.

 

describes indigenous clothing being on display in a museum in Guatemala City as if these garments are from the past. However, there was no mention of the women who have preserved the same methods used by their ancestors and are still weaving these traditional garments. She also describes how presenters and the museum staff at the Aztec: The World of Moctezuma explained the Aztecs and their culture as if they are extinct. However, they failed to mention that there are thousands of Aztecs living in Mexico. I thought this was an interesting observation to point out because whenever indigenous people or their culture is being explained, it’s always past tense. Of course, it’s important to learn about ancient times and history, but I hardly hear any mention of who they are today. I think we would paint a more accurate representation of indigenous people if we were to understand their contributions today and recognize their existence in present times, just as much as their past. Many people understand Aztecs to be bloodthirsty savages because of whitewashed history books and ill representations in film, but what if people knew about the Aztec survivors who are still around today? I think it would change a lot of people's perspectives. Lastly, she describes her experience with border art and almost seems to be warning border artists to watch out for popular culture and the mainstream art world. Anzaldúa states that the mainstream art world is “colonizing, commercializing, and consuming the art of ethnic people” (6). Overall, Anzaldúa suggests to border artists that the most important thing is to engage with the public and to never lose sight or connection with la gente.