Mexican American women reached across generations to develop a bridging activism that drew on different methods and ideologies to pursue their goals. Marisela R. Chávez uses a wealth of untapped oral histories to reveal the diverse ways activist Mexican American women in Los Angeles claimed their own voices and space while seeking to leverage power. Chávez tells the stories of the people who honed beliefs and practices before the advent of the Chicano movement and the participants in the movement after its launch in the late 1960s. As she shows, Chicanas across generations challenged societal traditions that at first assumed their place on the sidelines and then assigned them second-class status within political structures built on their work. Fueled by a surging pride in their Mexican heritage and indigenous roots, these activists created spaces for themselves that acknowledged their lives as Mexicans and women.
Vivid and compelling, Chicana Liberation reveals the remarkable range of political beliefs and life experiences behind a new activism and feminism shaped by Mexican American women.
2023 Honorable Mention Best History Book, International Latino Book Awards
Broad and encompassing examination of Chicanx popular culture since World War II and the utopian visions it articulated
Amid the rise of neoliberalism, globalization, and movements for civil rights and global justice in the post–World War II era, Chicanxs in film, music, television, and art weaponized culture to combat often oppressive economic and political conditions. They envisioned utopias that, even if never fully realized, reimagined the world and linked seemingly disparate people and places. In the latter half of the twentieth century, Chicanx popular culture forged a politics of the possible and gave rise to utopian dreams that sprang from everyday experiences.
In Chicanx Utopias, Luis Alvarez offers a broad study of these utopian visions from the 1950s to the 2000s. Probing the film Salt of the Earth, brown-eyed soul music, sitcoms, poster art, and borderlands reggae music, he examines how Chicanx pop culture, capable of both liberation and exploitation, fostered interracial and transnational identities, engaged social movements, and produced varied utopian visions with divergent possibilities and limits. Grounded in the theoretical frameworks of Walter Benjamin, Stuart Hall, and the Zapatista movement, this book reveals how Chicanxs articulated pop cultural utopias to make sense of, challenge, and improve the worlds they inhabited.
2022 Best Book Award, Oral History Association
Hundreds of stories of activists at the front lines of the intersecting African American and Mexican American liberation struggle
Not one but two civil rights movements flourished in mid-twentieth-century Texas, and they did so in intimate conversation with one another. Far from the gaze of the national media, African American and Mexican American activists combated the twin caste systems of Jim Crow and Juan Crow. These insurgents worked chiefly within their own racial groups, yet they also looked to each other for guidance and, at times, came together in solidarity. The movements sought more than integration and access: they demanded power and justice.
Civil Rights in Black and Brown draws on more than 500 oral history interviews newly collected across Texas, from the Panhandle to the Piney Woods and everywhere in between. The testimonies speak in detail to the structure of racism in small towns and huge metropolises—both the everyday grind of segregation and the haunting acts of racial violence that upheld Texas’s state-sanctioned systems of white supremacy. Through their memories of resistance and revolution, the activists reveal previously undocumented struggles for equity, as well as the links Black and Chicanx organizers forged in their efforts to achieve self-determination.
Born in 1965 as an organizing tool within César Chávez's United Farm Workers union, El Teatro Campesino became the premier Chicana/o performance ensemble to emerge out of the Chicano movement of the 1960s and 1970s. This study demythologizes and reinterprets the company's history from its origins in California's farm labor struggles to its successes in Europe and on Broadway until the disbanding of the original collective ensemble in 1980 with the subsequent adoption of mainstream production techniques.
Yolanda Broyles-González corrects many misconceptions concerning the Teatro's creation and evolution. She draws from a rich storehouse of previously untapped material, such as interviews with numerous ensemble members, production notes, and unpublished diaries, to highlight the reality of the collective creation that characterized the Teatro's work.
Writing within contemporary cultural studies theory, Broyles-González sheds light on class, gender, race, and cultural issues. Her work situates the Teatro within working-class Mexican performance history, the Chicano movement, gender relations, and recent attempts to mainstream.
Winner, National Association for Chicana and Chicano Studies Book Award, 2019
The Royal Chicano Air Force produced major works of visual art, poetry, prose, music, and performance during the second half of the twentieth century and first decades of the twenty-first. Materializing in Sacramento, California, in 1969 and established between 1970 and 1972, the RCAF helped redefine the meaning of artistic production and artwork to include community engagement projects such as breakfast programs, community art classes, and political and labor activism. The collective’s work has contributed significantly both to Chicano/a civil rights activism and to Chicano/a art history, literature, and culture.
Blending RCAF members’ biographies and accounts of their artistic production with art historical, cultural, and literary scholarship, Flying under the Radar with the Royal Chicano Air Force is the first in-depth study of this vanguard Chicano/a arts collective and activist group. Ella Maria Diaz investigates how the RCAF questioned and countered conventions of Western art, from the canon taught in US institutions to Mexican national art history, while advancing a Chicano/a historical consciousness in the cultural borderlands. In particular, she demonstrates how women significantly contributed to the collective’s output, navigating and challenging the overarching patriarchal cultural norms of the Chicano Movement and their manifestations in the RCAF. Diaz also shows how the RCAF’s verbal and visual architecture—a literal and figurative construction of Chicano/a signs, symbols, and texts—established the groundwork for numerous theoretical interventions made by key scholars in the 1990s and the twenty-first century.
Among the protest movements of the 1960s, the Mexican American Youth Organization (MAYO) emerged as one of the principal Chicano organizations seeking social change. By the time MAYO evolved into the Raza Unida Party (RUP) in 1972, its influence had spread far beyond its Crystal City, Texas, origins. Its members precipitated some thirty-nine school walkouts, demonstrated against the Vietnam War, and confronted church and governmental bodies on numerous occasions.
Armando Navarro here offers the first comprehensive assessment of MAYO's history, politics, leadership, ideology, strategies and tactics, and activist program. Interviews with many MAYO and RUP organizers and members, as well as first-hand knowledge drawn from his own participation in meetings, presentations, and rallies, enrich the text.
This wealth of material yields the first reliable history of this extremely vocal and visible catalyst of the Chicano Movement. The book will add significantly to our understanding of Sixties protest movements and the social and political conditions that gave them birth.
Describing how la familia came to be adopted as an organizing strategy for communitarian politics, Rodríguez looks at foundational texts including Rodolfo Gonzales’s well-known poem “I Am Joaquín,” the Chicano Liberation Youth Conference’s manifesto El Plan Espiritual de Aztlán, and José Armas’s La Familia de La Raza. Rodríguez analyzes representations of the family in the films I Am Joaquín, Yo Soy Chicano, and Chicana; the Los Angeles public affairs television series ¡Ahora!; the experimental videos of the artist-activist Harry Gamboa Jr.; and the work of hip-hop artists such as Kid Frost and Chicano Brotherhood. He reflects on homophobia in Chicano nationalist thought, and examines how Chicano gay men have responded to it in works including Al Lujan’s video S&M in the Hood, the paintings of Eugene Rodríguez, and a poem by the late activist Rodrigo Reyes. Next of Kin is both a wide-ranging assessment of la familia’s symbolic power and a hopeful call for a more inclusive cultural politics.
Bringing to life the stories of political teatristas, feminists, gunrunners, labor organizers, poets, journalists, ex-prisoners, and other revolutionaries, The Revolutionary Imaginations of Greater Mexico examines the inspiration Chicanas/os found in social movements in Mexico and Latin America from 1971 to 1979. Drawing on fifteen years of interviews and archival research, including examinations of declassified government documents from Mexico, this study uncovers encounters between activists and artists across borders while sharing a socialist-oriented, anticapitalist vision. In discussions ranging from the Nuevo Teatro Popular movement across Latin America to the Revolutionary Proletariat Party of America in Mexico and the Peronista Youth organizers in Argentina, Alan Eladio Gómez brings to light the transnational nature of leftist organizing by people of Mexican descent in the United States, tracing an array of festivals, assemblies, labor strikes, clandestine organizations, and public protests linked to an international movement of solidarity against imperialism.
Taking its title from the “greater Mexico” designation used by Américo Paredes to describe the present and historical movement of Mexicans, Mexican Americans, and Chicanas/os back and forth across the US-Mexico border, this book analyzes the radical creativity and global justice that animated “Greater Mexico” leftists during a pivotal decade. While not all the participants were of one mind politically or personally, they nonetheless shared an international solidarity that was enacted in local arenas, giving voice to a political and cultural imaginary that circulated throughout a broad geographic terrain while forging multifaceted identities. The epilogue considers the politics of going beyond solidarity.
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