As we continue to read various takes on this subject I think it is important to remember that issues like this do not go away. As stated in the book there were articles everyday in the paper or on the TV news, thus we are also reading and re-reading about the issue. Life is not as simple as a book with an opening page and a conclusion...convictions are formed and defended, anger is developed and directed, stands are taken and fortified, causes become crusades, an clever work of digital art perhaps made partly in jest, as a self portrait or a plea, suddenly takes on a life that is beyond the gallery walls. It is and always will be insane when a incident like this happens. Think back on the big issues you may have learned in college. The lessons is usually on the censorship or protest more than it is on the art itself.
So for this week I have two questions. After responding to the readings give me one example of a protest, censorship or controversy in your community. Something local with a local theme. Next, ponder the issue of culture. Who owns a culture? When does culture change?
Readings:
ReplyDeleteThese three articles, to me, condensed to discussions on economics, symbolism, and sexuality. Let me begin my saying I find semiotics fascinating and the article by Luz Calvo was my favorite. I found it insightful and perceptive. As Calvo explains “when meaning is produced,” she reveals that she has had time to consider the protests since she first began to write about them. Because of this, Calvo widens her context from just one of the “chicana theorists” to include a broader world of North American experience. Furthering this point, Calvo adds that the protestors were aided by forces from far outside of New Mexico: Calvo describes them as “global conservatives.” The discussion of polyvalence highlights the multiple readings of the symbolism of the Virgin within the culture and the multiple readings of Lopez’ art based on one’s education and experience. Next, the notion of scale and in what manner Lopez’ images are viewed played important roles in the impact of these images. Although Lopez considers herself part of the Mural tradition, many of her images are viewed on a small computers screen or on book covers. Finally, these images were viewed in a museum not in a church. They are to be looked at not venerated.
In Gonzalez article, “Making Private Public”, she discussed to confrontation of “old society” with a moneyed touristic culture. She contrasts La Conquistadora, an image made in Spain in the colonial period with the larger than life Virgen created in contemporary Mexico and installed a few years ago. This mirrors a ‘pushing to the fringes’ of the “traditional”-born-in-Santa-Fe-locals who have been marginalized, literally, after selling their ancestral homes to newcomers. The locals often move to mobile homes outside of the center of town and their traditional community.
My favorite quote is from the Archbishop, who expecting others to respect his interpretation and his religious sensibilities seems to have a complete lack of respect for others religious view. In an effort to make his case against Lopez- steeped in his tradition—Catholicism, he says “I doubt the Jewish community would be patient with such a mistreatment of symbols sacred to their faith”.
What symbols could he mean? The jewish tradition, based on the commandment—“thou shalt have no graven images…” don’t have “graven” images. No Icons in the Jewish synagogue—very little interior decoration in a synagogue. This makes him appear not only insular and “narcissistic” but unaware of any view but his own.
Finally, Thanks to Odio—I could see images of the work consistently discussed in all of the articles.
Local protest—I can think of a protest involving public park land—not art. The situation involved public access to parks, perceived historic site and limiting growth. First, the Dallas Arboretum sits on property adjacent to the city property of White Rock Lake. Built 100 years ago, White Rock provides a home to many animals and birds and its CCC building free or at low cost to citizens. The Arboretum is fenced and its ticket price is 18.00 for an adult, 15.00 for seniors and there is an extra fee for some of their garden spaces. Last year, the Arboretum made known a plan to take over part of White Rock Lake and pave it for parking. To the protestors, it appeared to be bullying the neighborhood and taking beloved free park space for the Arboretum’s profit. More importantly, this plan appeared to violate the implicit promise of an arboretum--To create a natural space, full of plants and gardens. Paving over a historic, natural space appeared to break the mission of the arboretum and caused an outcry.
Perhaps protest happens with a perceived broken promise—Did we as a culture promise to keep the virgin pure? Isn’t that why we still call her the virgin, instead of the Mother of Jesus?
Didn’t Caravaggio get in trouble for the same thing in the 16th century when painting the Virgin. He used real women--and he did use prostitutes—drowned ones at that. Maybe we have to look at what we do when, we still use old names and archetypes.
Sometimes we just have to follow the money...or power. I am very suspicious of anyone who is so intense on censorship. Thanks for reminding us that land is important to our art hears.
Deletethat was meant to be art hearts...some how the 't" was lost
Deletewow! Beautifully said!
DeleteEvery living breathing human owns culture but how many times have you thought or heard—“you wouldn’t understand, You’re not….” Sometimes when one tries to make connections—one is met with hostility because some folks feel proprietary about their experience and refuse to think it might have underpinning with someone else’s experience. For some people it's worth fighting over—
ReplyDeleteFighting words are “us” and “them”. What would happen, if we make and “us” out of “them”.
I am giving the geeky answer for cultural change:
I just read that trends follow the same pattern:
Basically
10% who just get it (innovators)
Early adopters
Early Majority
Late majority and
Laggers
Within the early adopter segment there is a chasm at about 13% percent. If you can get an idea passed that chasm, then real change occurs.
So culture changes when you get that change to be adopted by about 18% of the population.
Also , Lynn think back on your excellent classical background...how have those cultures changed? What part of an inherited culture is real, what part adaptation to the new lands/times?
DeleteI apologize for being late in responding to last week's reading Chapters 1-3, it has been a very hectic week, I went back to court over custody of my son and my mind was elsewhere.
ReplyDeleteAs for the first 3 chapters, and my response to the artwork itself, I felt the same as David, that Alma is showing her own personal battle in this piece. Not everyone is going to respond the same way and not everyone is going to "get it" that is ok, I try really hard to teach that to my students. I have learned through the series that I am doing now that every sees things differently and when some people see my artwork they may be offended or just not understand or relate or think that it is dark and not expect that from me. For me that is perfectly ok, because for those that do "get it" it may be healing or they just feel understood. I think that that's probably what happened with this piece. I was trying to think back to where I was and if I remember this being brought up and I honestly don't and that makes me a little sad. I am not Catholic, but have learned a lot about Catholicism through my boyfriends sister as well as my students and I know how important these symbols mean to them and can understand how they would feel offended, but at the same time, it was placed in a museum and not a church it wasn't meant to be religious or to harm others but simply be a piece that shows the struggles that probably most women go through. Corina I couldn't help but think of you and our discussions this past summer about how you "fit" into this world being Latina. I know that sometimes I feel as if I don't "fit"into this world either for whatever reason it may be. I find that it is just sad that we can not just accept art for art even though we do not understand it and if we don't just move on. Why make such a fuss over something that is a personal opinion and a personal expression? I think this is one step back in the art world.
I will respond to chapters 4-6 as soon as I am done reading.
DeleteGood point but someone(s) made sure it was made everyone's business! Even those who had not gone to the museum or even seen the real art.
DeleteTrue, to our conversations, I feel so bad for the curator and artists because they were bullied and silenced, at the time that is. I find their treatment unjust and I cannot imagine the stress they went through. I just want to give them a hug. Their fight is my fight as a Chican@ and as an artist.
DeleteI'll respond first to the controversy/censorship in my local community and then tackle the readings.
ReplyDeleteI had read in passing about controversy surrounding Dallas' Gay Pride parade in Sept 2013. As the headlines explained, there would be tighter enforcements of public decency laws during the course of the parade. But that wasn't what caused the uproar--the main support behind the enforcement was the openly gay organizer of the parade. So of course, in this instance, you can imagine the various views all clashing surrounding the parade--those that felt it shouldn't be held at all, those that felt it must be all or nothing, those that support a parade that all can participate in, etc. The organizers defended the "clothed" manner of the parade in a logical way I could completely understand--they wanted the pride parade to be about pride in people and less about bodies/sex/shock value. There were those that felt that the enforcement of the lewdness/indecency/felony (erections exposed to minors) laws were oppressive, trying to keep people "in the closet." The backlash was mainly directed at the organizer (who also owns many gay bars in the metroplex), who I suppose those upset felt betrayed by. Yet, there were also those in the gay community that supported the "crackdown" on the public displays of everything, “sexual positivity – meaning, among other things, flashing your [genitalia] in public – was the basis of the movement for some, perhaps many [gays], back in 1969,” he said that today, “a lot of us no longer define a positive sexual attitude as flashing the neighbor’s kid during a parade.”
I hadn't followed up on the news since this all went down in Sept (life got more than a little crazy), but the "Our Lady" book and this week's question immediately brought this back into my mind.
I will ask Professor Check what he thought. He was there. I had not heard of any protests or worries. Did hear a lot of folks speak of being afraid of Texas while we were in Wisconsin and Canada. I think the issue is what is expected or feared and what is real. Also rumors are always built upon worse cases. There was a time when students streaked across campuses (male and females) in order to shake things up and celebrate their bodies. Sometimes being wild or bad or outrageous is the only way to get anyone's attention.
DeleteI think that a few social sites were speaking of this parade--I wouldn't be surprised if a lot of the fervor was drummed up by a few unhappy people. The site I read from was the Dallas Observer, which seems to be fairly legit. THere seems to be no shortage of unhappy or offended people wherever you turn, especially on social media.
DeleteThis weeks readings were difficult for me. I’m not sure if it is because of the emotion, in the art, or just the tension you feel between the pages? I am someone who ducks away from controversy. I tend to fade away from the drama and observe the chaos quietly in the shadows, trying to play Switzerland and see the good of both sides. I am a people pleaser. As long as everyone around me is happy, then life is running smoothly. As I read this book, I can’t help but get a little anxious. What does one do or say when an entire community is appalled, disgusted and just down right pissed at you and your beliefs? How do you react to that? At the same time, this is who you are, and what you believe. Why should you care what others think? Why should you not get over the drama and move on? I guess I just want to know, what do you do?
ReplyDeleteThere was a section in chapter 5, where the writer talks of wanting to lift up the dress of the Our Lady, and see what she has under there. I wasn’t sure on how to take this? As a practicing Catholic, I don’t recall ever having the desire to look up any dresses, or down any pants of a religious icon? Even reading this made me feel uncomfortable. However I understand why she wants to look, and why she is curious. I personally see the Virgin as the ultimate mother. Thus I have no desire to go there, nor see her in that way. At the same time I understand that if you aren’t Catholic, religious, or even if you are, that you would be interested to know what is going on. How do you relate? We live in a society, where sex is a secret. Talking about it, showing it, looking at it, or even doing it, is a negative thing. So I loved how curious she was and how she wanted to check the body and see, how different she is from the Virgin, and to know that it’s ok that her body is the way it is. I felt this was a very contemporary way of accepting and appreciating ones own body. Thus I appreciated it. There is a line I believe where writer states you are either a virgin, or a whore. I find this statement very interesting, yet true.
Either virgin or whore leaves out mother, aunt, sister, friend, buddy, boss, supervisor or just the person next to you in the line.
DeleteI completely agree Future! I find it sad that people make a lot of things in life black and white, with zero gray. With that, I meant to say that people only judge topics on polar sides of the spectrum. You are either a whore, or a virgin. Rich or poor. Religious or Atheist. Etc. Why can't you be in the middle of all of these topics. Allowing yourself to safely have that physical bond with another human to bring you two closer. Comfortable at where you are financially in life. Open to everything studied and practiced, and spiritual. Etc.
DeleteWell put Jason. I think what we have to remember is that this was written in 96'. I don't know a lot about Feminism, but I know that for women of color, more particularly women of color of Catholic faith had very limited information about sex, sexuality, and all the feelings that you talk about regarding sexuality. Not to mention sexual health, sexual transmitted diseases, sexual dysfunction. Even married women, mothers, etc. Imagine how forbidden the word orgasm was, maybe still is. Sexuality, sensuality, is so taboo, and was even more early as 96'.
DeleteCensorship in my community would probably be towards the gay community. There are a variety of censorships here in Lubbock, however I can relate, and identify myself with this one most. Lubbock is a very conservative community in west Texas. This is not an issue for me. However, as a young gay man, within this community, can be tricky. When on a date in Lubbock, I go from an everyday man, to your local freak show. People stair across the room, most not doing it to be mean, or judgmental, they (the non gay community) didn’t expect to see two men on date outside of New York City. This does not bother, nor offend me. I get it. So why is this censorship to me? I feel horrified to hold hands with another guy in public. One time I was dating a guy and he worked as a barista at Hastings. He gave me a kiss goodbye and the three ladies in the café about had a stroke. Two of the ladies were my age. They made a big deal about it. Not a negative big deal but made it bigger than it ever needed to be. Showing displays of affection whether you live in the largest, most liberal city in the universe, or the smallest, most conservative town ever imagined, showing public displays of affection, expressing opinions, infatuations, or anything remotely “gay”, will create an alternate reaction, whether positive or negative to those around you. As a straight couple, I would assume you never have to worry about the people you are around, and if they are “ok” to be affectionate with your partner around or not? Can I hold my boyfriends hand in front of this group? If he gives me a kiss after our date, will I be bashed on my way to my car? Will I be attacked physically or mentally for being open with my sexuality? If yes, then maybe I should keep to myself? Only show affection behind close doors? But why do I have to do that? What happens if I don’t want to do that, and put myself out there? What happens? That is my censorship.
ReplyDeleteWho owns Culture? No one owns it. I find that we want to control it, and make it what we want it to be, but culture is through the masses. If someone or something happens, and more and more people are all about it, then it gets big. It spreads like wild fire, and pretty soon, you cannot go without seeing, hearing, knowing, or even doing it. Thus you have culture.
thank you for sharing your reality
DeleteI was raised that no 'good girls" ever showed affection in public. In fact at one time I was reported to my Dad, the Col. , that I had let a boy put his arm around me in the back seat. Little did the parent that reported me know that I was trying everything I knew to get the guys arm away from me but in the age before seat belts we were stuffed 5 to a seat with no wiggle room.
When thinking of a controversial issue here in Lubbock, I first thought of the portrait of a woman breastfeeding her baby by the artist Lahib Jaddo. I remember trying to figure out why in the world anyone would be opposed to this! The city told LUCHA that they were not allowed to show the painting due to the issue of “nudity.”I felt that it was so ridiculous to oppose the painting because I feel breastfeeding is beautiful and life giving. The news stated that “the controversy wasn't going away soon in Lubbock and “a protest by nursing mothers was scheduled Friday at the center where Jaddo's work would have been exhibited.”
DeleteOn a personal note, my wife Lisa has been breastfeeding our son for almost two years and I think it is one of the most powerful bonds of love that a mother can give. The health benefits also are undeniably important which can strengthen a child’s immunity and can actually save their life.When “Liam” was very ill with 105 temp. from a serious virus, breast milk was the only thing he would take for over a week. The doctor assured us that if Liam was not drinking or eating he would have to be hospitalized and would be in a grave state. For us, the benefits have been so immense that we are big proponents of helping other mothers and fathers understand the benefits as well. We decided to give our “testimony” as part of a promotion called “Latch on America” here is the link:
http://www.youtube.com/watch?v=QmPLWnLhsK0
Beautiful story. It is never "Lubbock" like it was not "Santa Fe" but one small group of people with too much time on their hands. And a slow day in the news. Really.
DeleteDavid I would agree, how is breast feeding so repulsive but girls gone wild all hanging out is not? It makes no sense to me that a beautiful young girl is accepted to show her breasts but a mother feeding her baby is shunned and told she is offensive? I think it should be the other way around, and most mothers are completely covered anyway and are not showing any of their breasts to the world while feeding, and as a mother, there are times that you are out in public and yes your baby is hungry, I guess we are suppose to just let them cry and be hungry, but then we would be yelled at for a crying baby, either way people are offended or gripping.
DeleteI think the act of breastfeeding in public should not be illegal, but I think trying to control what is appropriate and inappropriate regarding "boobage" is a a very gray area. I myself personally would not fling my breast out in the open for all to see, mostly because I am heavy chested and am very self conscious. If I was breastfeeding, I would do it as necessary but would probably cover up so that I feel comfortable. Then if someone asked me to stop or do it in private, then the wonder woman boob would come out in protest.
DeleteJayson,
DeleteI learned a different, greater perspective from your submittals. Thank You my friend. The readings were extremely difficult for me also, but perhaps because I am so foreign to catholicism, the Virgens and their significance and relevances to events in my life. Growing up with virtually no exposure to these ideals reminds me of how sheltered I've been.
Although I cannot relate directly, I certainly respect and appreciate your view on censorship in the gay community. To me, as time evolves (though not possibly soon enough) greater respect and appreciation for societal views of homosexuality will become widely acceptable in the mores of society. To me, that cannot happen soon enough. We as people should make concerted efforts to come together as mankind rather than ripping ourselves apart.
ReplyDeleteThe readings for "Our Lady of Controversy" this week consisted of differing ideals that express why the controversy continues of Our Lady. La Conquistadora represented peaceful reoccupations from spanish colonial histories, and is Santa Fe's patron saint. La Virgen de Guadalupe originated from the Aztecs and mexican colonization. Northern new mexicans clash with southern new mexicans or as Deena Gonzalez stated "Santa Fe versus Mexico City"(Our Lady of Controversy, 2011 p.85). The two conflicting ideals represent either a triumph (La Conquistadora) or a loss (La Virgen de Guadalupe), though this is through native continuance.
"Making privates public" by Deena Gonzalez reveals the virgin worship by each culture and the severe conflicts of church and state on many levels. Also relevant are tangled issues of iconography and how politics can/does cloud many issues of relevancy today. Of the three sections of readings, I most enjoyed the section by Luz Calvo "Art comes for the Archbishop". For me, this section supports and reveals the identities of each of the virgins and the significances that each has to their cultures. Before this reading, I hadn't considered the queer and feminist ideals of Chicana/o art and how they relate to each of the virgins. Selena is revered as iconic to young Chicana women and fans. Perhaps that is because of the subjectivity of the Chicana ideals to the racial undertones of social frameworks.
In the last section "Queering the Sacred" by Clara Odio, the mestizaje was an identity shared by Chicana culture. The very ideal of sustaining Catholicism in Santa Fe is linked to Alma Lopez's representations of the Virgin of Guadalupe. Spirituality and the references to the Aztlan concept were two differing factions that are constructs for understanding Lopez's work. I find it interesting the use of the Viceroy butterfly and relevance rather than the poisonous Monarch. The connections of love is a ribbon that ties the Chicana personal rationales and is the meld of mexican and spanish cultures.
One example of controversy that I dealt with this past year was the community acceptance of the growth of the Samaritan Inn homeless facility in McKinney Texas. The Samaritan Inn acquired nearby land to soon build a bigger facility to accomodate the rising growth of homeless families and children in the North Texas region. To do this, community acceptance was required for land re-zoning. Several old traditional conservative McKinney residents balked at this proposal. The Samaritan Inn homeless facility in McKinney is unlike any homeless facility or shelter in the southernmost U.S. Several years ago, this facility was located in Plano Texas and needed to grow it's facilities to accomodate the rising homeless demographic. The city of Plano refused to allow the Samaritan Inn to acquire land for growth because the ideal would cause increased crime and property values to plumment. The city departments of McKinney saw the opportunities for the Samaritan Inn, and welcomed them to its community. The Samaritan Inn is presently working hard to rehabilitate its temporary residents (eligible to stay 6 months) to obtain and sustain jobs, housing re-start opportunities for select individuals and families, and build dignity and character so as to rebuild it's residents lives. Some folks succeed, some fail, but traditional stereotypes of drug addicts, alcoholics and destitutes are replaced with opportunities to re-establish dignity, character and ultimately respect (an earned right). The facility realizes that unfortunate circumstances happen to good, hard-working people who have suddenly lost their jobs, homes and livihoods. It's residents need opportunities to get back on their feet to contribute to the local economy. At the Samaritan Inn, homeless does not mean hopeless.
DeleteLastly, who owns a culture or civilization? My answer is everyone. Everyone that is a part of that culture is a significant contributor. All contributions should be welcomed to further promote a dynamic environment where all people in that civilization can thrive. To me, New York City comes to mind. A venerable melting pot of cultures, ethnicities, religions, languages, mores and values juxtaposed on top of each other with opportunities to succeed and excel for all. Will there be conflict (physical or emotional)? Most certainly. But opportunities for acceptance and respect for others on a humanitarian level govern. Opportunities for self-promotion are vast and are limited only by the minds of restricted rationales.
What great insight and a wonderful reminder to us all about how fortunate we are to be in grad school, sharing with friends and learning new ideas. Thank you.
DeleteThis reading was very difficult for me to put into words carefully and craft my words properly. I am very unfamiliar with the context from my anglo histories.
DeleteI'm not sure where to place my comment here, but perhaps I can follow my previous ramble of contextual histories with my added response.
One of the issues that troubles me in this reading is how long the conflict of cultural colonization must continue. Worship of the Virgens, politics in the Catholic faith or even why a "takeover" must occur with the Virgens. It seems that the gyrating top has spun into a cyclical pattern of disjoined understandings. As Jayson said, there are many shades between black and white that have multiple connotations that can and do get tangled. To me, there is no "either" "or", but rather a series of declarations that are subject to interpretations. That right of interpretation may always divide society. Just what is "Mexicanness"?, and how can we make sense of the irreverent rationales? Because there is a significant geographic distance between Mexico City and Santa Fe (and thus considerably different contexts) is why I believe that the interpretations of the Virgens gets so clouded. The histories in each of those locales is so significantly different for different reasons. Influences of historical pasts are directly related to local contexts. To establish a common bond through Catholicism can't and won't resolve issues, but can worsen resolve of understanding and respect. Regarding Iconography, perhaps the Icons need to be completely re-evaluated altogether. Perhaps a new paradigm can be developed instead of an "either", "or" construct. "Folkloric" is a slippery term to me and could have multiple misunderstood implications. I also don't understand why the Virgen of Guadalupe must remain without sexuality. What could be a favorable outcome be from this position? Christian beliefs and Catholicism are considerably different religious beliefs. To tie the two together somehow for unity is unrealistic. Lynn made some fantastic points in her analysis, and Corina aptly stated that Catholic women of color have very limited conclusions of sexuality issues. Corina, If I were a woman, I likely would share your perspective on breastfeeding in public. As Future said, sometimes "shock" must happen to get the public's attention for what is truly important and significant.
Jayson, I really relate to how you feel about the readings. I was a little shocked myself when reading about her wanting to look under the dress and see what she has under there.. I think for me, I saw this in a whole new light. I think we as people put the Virgin up on a pedestal and only see her as the Virgin and not as a woman, and to be honest I never ever thought about her other than a Spiritual figure and one that is Holy and only as the mother of Jesus, but not as a woman, and about her sexuality. I think it makes her more human when we look at her in that light. I think maybe she was trying to relate to the Virgin in a different way, maybe more as a woman instead of an icon or image. Sometimes we need a motherly figure and maybe she was searching for that? I know I can not talk to my mother about sex, and found I talk to other woman about things, rather then go to her, so maybe that curiosity had other underlying issues. I feel like she is trying to figure herself out as she is working through this artwork, it is raw and isn't that what we are all trying to get to? Artwork with meaning, artwork that relates to others, that puts our whole self out there, artwork that we give a little bit of who we are really and truly are? For me that's what I want.
ReplyDeleteAs far as censorship, Jayson, I too feel somewhat the same way. My boyfriend is Mexican and we get a lot of looks, even for living in Austin where everything is "WEIRD" we get a ton of looks. We get stereotyped WAY to often. When at HEB we have had people looking and starring to see if we are going to pay using Food Stamps.. and then are shocked when I use my debit card to pay for the $300 + of groceries in our cart. Just because we are a mixed couple does not automatically make us on welfare. Let me just say that there is nothing wrong with being on welfare when your not abusing the system. When I left Carson's father I received food stamps and medicaid, but once I worked my way up and got a good job and made too much I was more than happy to let that go. It was there when I needed it and I am thankful that I was able to use it and I am thankful that I now have a great job and that Nick is working towards getting his education to become a teacher as well. I'm proud that we are able to pay for things with our own money and at times I just want to turn to those people and tell them to stop staring or take a picture it lasts longer, and to stop stereotyping just because we are a young mixed couple with a child, its not your business how we pay for things, but no we are not on welfare thank you! I am a little naive to think that the race issue had died down, but there are still people out there that are racist and think that there should not be mixed race couples. My only fear is when we have our own child, a "mixed" baby.. will he/she be made fun off? will they be bullied for having a "white" mom and "Mexican" dad? There should not be an issue of race, you can't help who you love and who you love should not matter to anyone else but you!
ReplyDeleteI cannot believe that there are still so many people that cannot accept mixed race couples, its sad. I really love how Our Lady has really forced us to look at the icon of La Virgen De Guadalupe in a way that most of us had never thought or felt as if we weren't supposed to think of. Don't think of what other people will think of the beautiful babies you and Nick will have. Ignorance is what is regressive for humanity, and with yours and Nick's life experiences they will be well guided individuals.
DeleteAndrea, you will raise a wonderful child (as you are already are raising with your son). I think people stare because you are happy and in love. Do not let little minded people get in your way. I am saying there are not mean people out there...when Sam (my husband) was in Iraq more than one person had nasty things to say to me about him and killing. Some people will always find joy in putting others down. Live in love, Do great art. Share you passion.
DeleteAndrea,
DeleteI can empathize with your comments.
I am divorced now, but my ex is from Laredo, Texas. Mary's father was from Spain and her mother was from Florida. She is bilingual and speaks and writes spanish fluently. Our now 22 yr old son Jordan, was not raised to be bilingual. I sincerely regret that now. Mary looks Hispanic (though she is not) and her formative years are deeply rooted in Latina culture. When my son was an infant and I in architecture school at Texas Tech, we struggled to make ends meet as many young couples do. We were on the W.I.C (Welfare Infant Care) program to receive Jordan's expensive formula. To receive the free formula, I was required to take Jordan to see the W.I.C nutritionist every other month. It was a grueling 2-1/2 hour wait sesson with crying babies and unsupervised children running around the clinic. Being an anglo white man in the clinic, I felt reverse discrimination by the many mothers, but no men. I readily accepted that notion at the time, but certainly felt "out of place". When my son was very young, my wife, son and I went everywhere together. I can't tell you how many "looks" I got from people who stared at me, then at Mary, then at our white son and visually "insulted" me on numerous occasions. I learned to focus a glare back as if to say "what is it your business - who are you"? My other family (from my side) accepted Mary but only conditionally. That premise angered me then and disappoints me still today. Because I didn't marry a "white" woman, I was ostracized and ridiculed at my back. I meanwhile, viewed their rationale as narrow-minded and shallow, but the hurt remains.
Sorry it took so long to get back about the readings from this week. Doesn't it seem that life dumps everything all at once? Sigh, anyway, here I am-- post Veteran's Day assembly 13 ft by 26 ft student-painted American flag and district art show--frazzled brain and all.
ReplyDeleteThe essay "Art comes for the Archbishop" of course brings to mind Willa Cather's "Death Comes for the Archbishop." Probably not a coincidence since the Cather novel features a bishop going to New Mexico. I haven't read this Cather novel in quite awhile, but I'm a huge fan of her writing. I appreciate Culvo's writing in this essay--to explain the layers of symbolism and cultural context for Alma Lopez's imagery--especially the Viceroy imagery. Culvo discusses the "brown bodies" depicted in the works, but also the undervaluing of these bodies. While I haven't really paid attention to anything for the last few years, the rock I live under is quite large, I don't feel that our culture-at-large is as monochromatic as described here. Perhaps different regions have a varying feel for body variety, but Texas has quite a large population of Chicano/as. I see equal representation in this geographic area--as far as representation in media, local personalities/celebrities, local government, school district/administration. So I don't perceive a negativity toward "brown bodies." I'm an outsider, though, so perhaps it's something I don't pick up on. I would agree though that in certain national arenas there is still a slant--such as fashion/modeling/Hollywood stars. But each new generation that we teach is our opportunity to make reflective consumers/thoughtful citizens. Question why we only see a certain "body."
Roman-Odio brings in more context for us, which is nice. To read again about now familiar people/works but with new examples/different perspective helps me to construct a better idea of the whole framework for Alma Lopez's work and the particular controversy in New Mexico. These essays dig deep into queer theory and the Chicana lesbian experience; for me to digest and completely keep straight all the symbolism/names/etc I need another read through. Maybe perhaps visual notes.
Emily I agree it is hard to totally understand someone else' life experience. I try to remind myself that even when I am talking to someone from an alcoholic home their view/memory may be radically different. What I do know is that as a white skinned person in this country at this junction in time, I am treated better, given more opportunities, and have more doors opened. It is simply easier even in the worse of times simply because of my skin.
DeleteFirst and foremost I want to say that Our Lady Our Controversy is very captivating to me that I have been reading it very thoroughly. At this point up to chapter 6 I already have 25 pages of handwritten notes. I have to write down notes, the physical and visual act of writing things down engrains the idea deeper in my mind.
ReplyDeleteAfter reading “Making Privates Public” by Deena J. Gonzalez I was surprised to learn more about Spanish colonization in New Mexico and the dynamics of migration from the East, South, and in contemporary times from the East Coast. The social dynamics had not been apparent to me, and now when I visit Albuquerque in the Spring I will see it through new eyes. I had never heard of La Conquistada nor had I have necessarily equated La Virgen De Guadalupe with pre-Colombian indigineity. Looking back at the art of Federico Vigil, the New Mexican native Fresco painter that taught fresco painting this past summer in Junction, the controversy that circulated around his work at the National Hispanic Cultural Center, Torreon Fresco (http://www.nationalhispaniccenter.org/index.php?option=com_content&task=view&id=37 ). I would truly need to see it in person to get the full scope of this amazing fresco work, but I know that his artwork stirred up a load of controversy from many cultural perspectives. He battled opinions about his work that were along the lines of his work being too much of one culture, or not enough of another. Too Indian, not Indian enough, too New Mexican, not New Mexican enough, are some of the accusation I imagine he battled. The more I delve into Our Lady of Controversy the more Vigil’s struggles make sense to me. The scarier New Mexico becomes for me.
Art for the Bishop by Luz Calvo gave provided artisitic criticism and psychoanaylitical analysis about Alma Lopez’ work. When she discusses the declaration of “I am Chicana” as “never capturing the complexity of the subject which exceeds the declaration and falls short of, simultaneously,” it made me think about my own Chicanismo. She is right, a Chican@ will be never be Chican@ enough and always be too Chican@, simultaneously. “Aren’t you Chicano?” emerges when the expectations of the degree of one’s Chicanismo does not meet some ideological standard.
However, there are two points that Luz Calvo discussed with which I disagree. The first is about her application of Freud’s “Castration Anxiety” and David L. Engs “Racial Castration” to Sandra Cisneros’ “Guadalupe the Sex Goddess.” The real problem that I have is that she applied a mysoginistic, “phallus” centered ideology to Cisneros’ narrative. Sandra Cisneros’ narrative is about the absence of sexual identity that correlates with social constructs of race and gender in the iconography of La Virgen De Guadalupe. Although looking under the robe could very well produce a phallus, but that is not the point, it is about the oppression of the sexuality of the feminine, the lack of knowledge that women had about their bodies, and the inability to embrace sexuality or sensuality, which is shunned. There is no place for a phallus in feminine sexual identity, or theories revolving around a phallus, testicles or the loss thereof, hence, castration. Race on the other hand, is not a biological construct, but a social construct. Skin color and gender may very well be visual, biological, as well as anatomical, but can arguably be social constructs as well.
contintued
Excellent point. I absolutely hate it when someone reaches back to Freud and tries to apply his insights to an issue today. His work was surrounded in the dark misunderstandings of our bodies that dominated his time.That is why is work his important and why it is off base today. We actually have learned more about our bodies and our various reactions to situations based on our bodies' histories. Cisneros's work for me has always been about the personal exploration of passion.
DeleteThe other point that I disagree with, passionately, is Calvo’s application of rasquachismo to Alma Lopez’ digital work. I truly believe rasquachismo to be used in very racist ways and unfairly placed upon ethnic artists. Because of Lopez’ postmodern subjects and appropriation of existing images in her digital collages her work is equated to the “resourcefulness” of rasquachismo, which is described as the poverty fueled, piecing together of cheaply acquired materials. I do not understand how Alma Lopez’ digital images can be more cheaply acquired than digital images of other more financially and culturally privileged artists. I am sure that Romare Bearden’s collages for his appropriation and Basquiat’s art (before he was famous) for his use of available materials wouldn’t be categorized as rascuachismo, without overlooking the fact that they are men.
ReplyDeleteThe subject matter, visual aesthetics, ethnicity of the artist, and the homeland of the artist are the racist prerequisites of rascuachismo. I have never heard of this word or its application until I got outside of the Rio Grande Valley, so I know that place and perception plays a big part of the label.
Queering the Sacred by Clara Roman-Odio, really made me ponder on the hegemony of Christianity, more specifically Catholicism. For some reason the idea of churches popping up all over the world made me think of Wal-Mart. I think Wal-Mart is the new church. The 1845 article in The Review by editor John O’Sullivan about manifest destiny and the supremacy of the Anglo-American made be think about the Eugenics movement. As disturbing as the minds of such individuals are, the more intrigued I am to understand their illogical psychologies.
Regarding the new mestiza consciousness of Gloria Anzaldua, I just got back form the annual El Mundo Zurdo 2013, international conference on the life and work of Anzaldua held in San Antonio College, SA. I went to many interesting session on spiritual activism, spiritual mestizaje, borderland theories, and disability studies. I walk away with so much, and meet many people, a few names in this book are in the program for the conference. My husband organized the Lunada Poetry Reading for this conference, which was at the Blue Star. I have to admit it is always great to break away from the heavy responsibilities of teaching high school to be in an environment of grown-ups, especially at conference where most people are so open, eager to share, grow, and connect. I was able to get many ideas that will influence my art.
An example of a protest was when George W. Bush, still in presidency at the time, paid a visit to UT Pan-American, and a local artist, Rene Garza, made sure his artwork was going to be right in front to greet the president. He had welded a metal structure resembling a globe to an oil drum. Rene had also been secretly posting signs of gas pump/gun all over the region. His passion was very admirable.
I think culture is a social construct that is fluid and eternally in flux. Just as in identity, it borrows, grows, destroys, builds, oppresses, crumbles, survives, and transgresses. I think a culture adapts through generations and time, because if it cannot adapt, it will not survive.
One summer in Junction we had a teacher who introduced the concept of requachismo to the seminar class. It became the new clever word to use whenever talking about something 'less than fine art". Finally, one student...a powerful, intense woman/artist/educator from south Texas, reminded the choir of requachismo chanters that she and her art work were what they were really talking about/dismissing . She explained that the word itself was used by those who consider themselves better than or more refined than the poor or uneducated or simply the 'others" outside of their so called circle of influence. She spoke of her family and how YES they used what ever they could find to enhance their home/garden/yard. It was a wonderful lesson in how easily we all can be seduced by a word that is exotic sounding and a new sense of power to judge.
DeleteCorina,
DeleteThank You for your refreshing insight to the readings. I learned a lot from your insightful writing. I too have to write down my thoughts and reactions immediately, and that ideal equates to a lot more time spent on said project.
When I learned about the controversy of Frederico's work at the National Hispanic Cultural Center, I wasn't sure what to think initially. Perhaps I was suddenly overwhelmed with the potential of controversy with the juxtaposition of cultural perspectives in his work. The conflict of interpretation of historical contexts. That example made me think why and how there should be controversy in his work (or at least was viewed as such). What stunned me was the fact that there were several "recent" political undertones present with re-interpretations of the fresco representations. These issues didn't exist initially with the presentation of the fresco paintings. The then bogus solution was to close that particular region of the Cultural Center from public display. My heart sank to know that condemnation would/could happen so easily for personal political gain. The idea of "re-evaluating" his fresco artwork from previous histories for political gain is slanderous to Frederico's work. I was glad to know a favorable outcome occurred and actually gained additional credibility for Frederico's work. However, this incident made me think about the integrity of the justification of establishing historical indigenous contexts.
Chapter 5 is probably the most interesting part of the three chapters. It is resembles where I came from the most. In my community the Virgin is the most prominent figure in my culture. She is talked about, written about and seen in my community. My family only sees Her in the brightest of lights like the image shown on page 99. This is the only way She should be seen in the older community, people like my grandmother. In the eyes of my peers she is depicted as the way Alma Lopez sees her or has drawn her. I like this chapter the most because it kind of feels like home to me. Everything in this chapter fits my family and community the most.
ReplyDeleteThe only controversy I have ever come across is when alcohol was allowed in Lubbock. The issue and theme was that the older community did not want alcohol to be allowed in the city limits. Lubbock had been a dry county for many years and they didn’t want change. In my opinion the culture is and will be owned by those that lived in Lubbock the longest. The reason for Lubbock being a certain way, in this instance a dry county was because the elders were here and wanted Lubbock to be their way of thinking. By it being a dry county they owned the culture of how and what Lubbock would be and look like. The only way to change it is if they die off. The only way Lubbock became a wet county was because enough people wanted the county to sell alcohol. That is what I feel is the culture of Lubbock. The older people of Lubbock are set in their ways and want Lubbock to be a certain way. Lubbock cannot be any other way than they way they want it to be.