Rasquachismo, as defined by Tomás Ybarra-Frausto in Chicano and Chicana Art: A Critical Anthology, is an attitude rooted in resourcefulness and adaptability, yet mindful of stance and style. It can be represented in not only objects and places, but also through people and acts. This term represents a working-class sensibility where it often reflects a lived reality that evokes resourcefulness. The utilization of what is at hand has allowed for hybridization, juxtaposition, and integration as stated by Ybarra-Frausto. When relating the term to objects, there is a sense of temporality and impermanence. When relating it to taste, rasquache represents the unrestrained, elaboration, and flamboyance (e.g. bright colors, high contrast, bold patterns). Ultimately, rasquachismo defies the accepted “superior” norms of the Anglo-American with the daily realities of Chicanx culture.
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| Amalia Mesa-Bains, Venus Envy Chapter One (of the First Holy Communion Moments Before the End)(detail), 1993. |
Domesticana, as described by Ybarra-Frausto, is the expansion of a feminine rasquachismo to establish greater sensibility regarding struggles related to identity, power, and sexuality. This term developed from the resistance to majority culture and affirmation of cultural values, as well as restrictions placed on gender identity within the culture. Ybarra-Frausto mentions that the centrality of family life directs the sensibility of domesticana, where Chicanx women are frequently raised in hierarchical roles of male over female, old over younger. Characteristics of domesticana work involve innovating traditional religious iconography and/or everyday reflections of femininity and glamour.
I decided to include a photograph of artist Amilia Mesa-Bains’ Venus Envy Chapter One (of the First Holy Communion Moments Before the End) instead of providing a personal example. Mesa-Bains has been able to cultivate the aesthetics of domesticana through her work.
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