What is “la Mexicanidad”? Mexican Identity has been ill-defined for years. This misconception could be attributed to the ambiguity of how the first Mexican was created. As a consequence, this has resulted in different kinds of identities established by the Mexican people. Creation of different identities is not a surprise because just like culture, identity is not simply a fact but a social construct. Taking these into consideration, with the mixture of the ambiguity and the violent connotation on how the first Mexican was created, has lead into a national inferiority complex and a negative construct of an identity for the vast majority of the Mexican population, especially males, to always remain close off to the outside world using their machismo. One of the most prominent authors that has explore this topic is Octavio Paz, who has explored in great detail and constructed a specific Mexican identity in his book The Labyrinth of Solitude. Paz experiences shame in the identity which was derived from the Malinche. He considers Mexicans as “Hijos de la Chingada”. …show more content…
Also, throughout Mexican folklore the idea of machismo is prevalent. Similarly, to the Pachuco the Mexican Macho has a certain outfit, in order to flaunt its difference. For instance, “the Mexican macho… is terribly fond of all articles of clothing symbolizing masculinity: the hat (either the fancy sombrero or the wide-brimmed Borsalino), the pistol, the horse or automobile are his pleasure and his pride. Machismo finds expression in Mexican folklore, especially in the folksongs." A perfect example of this representation, is Pedro Infante that represented masculinity whole-heartedly both in in character and real life. Having an Idol like Infante, resulted in inspiring many people to be like him, which cause the idea of machismo to be even more widespread throughout
He argues this case through many sources, one of which described that Mexicans are not capable of straying away from their own culture and even included U.S. born Mexicans Americans, thus making them more prone to creating a new nation within the U.S. southwest (35-36). Chavez explains that the scholar does not
Strength and height are big factors in looking masculine, so his father was also very proud, right along with abuela of course. He says, “Viste, what an hombre I’ve made of him” (202). Meeting this gendered expectation of looking like a man gets him praise from everyone, so he continues to conform. He even compares himself to Ariel saying, “was I as muscular and ripped as Ariel? I flexed my biceps and sweaty abs in front of the bathroom mirror” (225).
The Hispanic world is still a largely patriarchal, maledominated society, with both men and women adhering to very traditional gender roles. These roles are characterized by traditional behavioral ideals, which have existed since colonial times. Machismo, is an internationally familiar concept referring to what is expected of a man in Latin America. Canak and Swanson (1998) describe the traditional macho
Throughout “The Mexican in Fact, Fiction, and Folkore” examines the term “Mexican” as it is applied in Southwest literature and argues the Anglo society has made a conscious effort to misrepresent Mexicans (Rios 60). He states the people of Mexican descent are viewed as un-American because they are perceived as filthy, lazy, and dumb. Ricatelli adds to the conversation of Mexican stereotypes by examining the literary expressions of Chicanas and Mexicanas in the literature of both the United States and Mexico. In “The Sexual Stereotypes of The Chicana in Literature” Ricatelli explains how in Yankee literature, the Chicana is referred to as the “fat breeder, who is a baby factory” meanwhile the Mexican is described as an “amoral, lusty hot tamale” (Ricatelli 51). He makes note of these stereotypes in order to highlight the ethnocentric and nativist points of view that dominated Anglo literature.
Growing up, I never believed I had an identity. When I delve back to my earliest of memories, both English and Spanish made an appearance in my dialogue. Because my life had always remained constrained in a blend of American and Mexican culture, it was difficult to distinguish exactly which group I resonated most with. Here in the Rio Grande Valley, it is an internal war that is fought constantly. Whoever could predominantly show their Mexican heritage would be held at a great regard for not neglecting their roots.
Machismo is extreme masculinity. The male typically dominates the household by sometimes imposing his beliefs, attitudes, and behavior onto the rest of the household. While growing up, there were some topics that I could not talk him about like sexuality and clothing. He believed some topics can be only talked about among women. I did not confide in my dad frequently growing up.
Through Antonio and Ultima, readers identify the creation of a culture that has been forge by war, discrimination, and common hardships. With Ultima being a powerful curandera, the story shows the importance of the female character within Mexican culture. Today, this is prevalent in many Mexican-American households, as the elderly women are held in the highest respect. Another aspect of Mexican-American Culture is masculinity, which is shown in Bless Me, Ultima when Antonio’s father says, “a man of the llano does not run from a fight” (Anaya, 1999, p.37). There are countless examples of Mexican-American masculinity in this novel, like when it mentions that Gabriel’s two eldest sons are fighting in WWII.
The immigrants entering the United States throughout its history have always had a profound effect on American culture. However, the identity of immigrant groups has been fundamentally challenged and shaped as they attempt to integrate into U.S. society. The influx of Mexicans into the United States has become a controversial political issue that necessitates a comprehensive understanding of their cultural themes and sense of identity. The film Mi Familia (or My Family) covers the journey and experiences of one Mexican-American (or “Chicano”) family from Mexico as they start a new life in the United States. Throughout the course of the film, the same essential conflicts and themes that epitomize Chicano identity in other works of literature
In her book, From Out of the Shadows, Viki L. Ruiz argues the contributions to history that was made by farm workers, activists, leaders, volunteers, feminists, flappers, and Mexican women. She explores the lives of the innovative and brave immigrant women, their goals and choices they make, and how they helped develop the Latino American community. While their stories were kept in the shadows, Ruiz used documented investigations and interviews to expose the accounts of these ‘invisible’ women, the communities they created, and the struggles they faced in hostile environments. The narrative and heartfelt approach used by Ruiz give the reader the evidence to understand as well as the details to identify or empathize with.
In the altar’s center is “a plaster image of the Virgin of Guadalupe, quarter-life size, its brown Indian face staring down on the woman” (Paredes 23). The implication of the stare is of criticism as the Virgin, symbolic of an ideal Mexican womanhood, looks down on Marcela, whose Anglo features starkly contrast with the Virgin’s, and whose actions are in opposition to the values that she represents. This carefully constructed scene is meaningful. Marcela’s lifeless body lies between the bed and the altar, and opposite to the altar is Marcela’s shrine dedicated to Hollywood movie stars. These are the visual images of the opposing forces that characterize the Mexican-American struggle for resistance against American cultural hegemony.
“Oranges,” “The Seventieth Year,” and “Avocado Lake,” showcase Soto’s ability to move a reader using an emotional story without the use of rhyme or rhythm. Through Soto’s poetry, he indicates the traits that define Mexican-American community
Jovita Gonzalez & Eve Raleigh’s Caballero: A Historical Novel, took place during the Mexican American War. While military officials from the United States were occupying Texas, Mexican men such as Don Santiago de Mendoza y Soria resisted the presence of the Americano. The novel focuses on the many injustices that occur within the Mexican population. One main problem that is presented is the social viewing of race and class. Mexican people with Spanish ancestry were more likely to be respected or accepted, while those whose blood was mixed were perceived as inferior.
“Aztlan, Cibola and Frontier New Spain” is a chapter in Between the Conquests written by John R. Chavez. In this chapter Chavez states how Chicano and other indigenous American ancestors had migrated and how the migration help form an important part of the Chicanos image of themselves as a natives of the south. “The Racial Politics behind the Settlement of New Mexico” is the second chapter by Martha Menchaca.
Octavio Paz, a Mexican poet and essayist, is one of the many philosophers with a written piece regarding his understanding of Lo Mexicano. Paz’s “Sons of La Malinche” was first published in the Labyrinth of Solitude in 1950 and is a rather grim interpretation of the Mexican character, however, it captures the crisis of identity that Mexico was burdened with after the conquest. Paz uses the Spanish term “chingar,” (when literally translated means “to screw, to violate”) and its associated phrases to understand the conquest and the effect
Machismo is the practice of strong and aggressive masculine pride. Machismo can be seen as a great thing but everything comes with a price. Machismo can be seen as a great thing because it makes men braver, this attracts women because they want to be protected. For example after the murder took place Pablo Vicario marries Prudencia Cotes. She would have never married Pablo if it wasn't for his brave deed to win his sister's honor back.