Module 13

The Latinx Monster Theory describes how US pop culture views Latinx immigrants and populations as "migrant monsters" and portrays them in horribly negative lights to further harmful stereotypes and generate more fear around these populations. Fear is a key component of hate, and generating more fear generates more widespread hate. One example of a stereotype perpetuated using the Latinx Monster Theory is that of the "other," who is lazy, violent, hypersexual, and "uses up" or "wastes" government welfare. All of these descriptions provides justifications for the US government's use of control, oppression, racism, and deportation toward Latinx communities.

"In his essay 'Seven Theses,' Jeffrey Jerome Cohen reminds us how a 'monster is born only... as an embodiment of a certain cultural moment of a time, a feeling, and a place... The monstrous body is pure culture" = influenced by cultural discussion and beliefs, as well as what American society wants us to believe about a certain group. William A. Calvo-Quieros wrote,

"At first, they made me think that I was a monster, then they 'made' me a monster, and at the end... I saved them, but I remain a monster."

This is the Latinx experience- and that of all communities of color, for that matter- in American society in a nutshell.

Narco culture is very much glamorized in American culture. From shows to movies to style, narco culture is commonly used to increase the respect they gain from others and to take on a different identity for a little bit, easily thrown away once it is no longer trending any longer. However, narco culture has significant consequences and a great deal of pain associated with it, and this is not often focused on. It can be easier to glamorize narco culture without recognizing the death and loss and terror associated with this topic if you live outside of it and only glimpse little bits, but it is important to acknowledge the reality and the people who are impacted by it every day.

Module 12

Athletes play a large role in society, as a public entity and an inspiration to many. Although not historically, sports can offer a place for people of color to rise up and gain public recognition for their talents and hard work. There are many Latinx athletes who have taken great strides and had major impacts.

One such athlete was Roberto Clemente, who was a Puerto Rican baseball player. Many think of Roberto Clemente in a similar fashion to Jackie Robinson due to his role in professional baseball during a time of great racial tension and division in the United States. Although I do not have much personal interest in sports, I have a lot of respect for the Latinx athletes, of all ethnicities and backgrounds, given how they put their all into their passion in spite of oppression and inequality.

Spiritual mestizaje is the reframing and renewal of one's relationship to sacred figures and ideals. This can take place through reflection upon oppression and inequality in one's life, as well as dedicating more to honoring the sacred. Spiritual mestizaje can be applied to Chicanx and Latinx studies, feminist studies, and border studies. Additionally, the idea of spiritual mestizaje can be seen not only among Latinx and Chicanx and Indigenous peoples, but also through the works of other people of color, including Toni Morrison and Louise Erdrich. A common saying in relation to spiritual mestizaje is that "life honors the sacred," and engaging with spirituality and saints can offer a way of engaging and living in our society. My great grandmother was very fond of the saints, particularly the Virgen de Guadalupe. In addition to having paintings and altars for the Virgen around the house, my grandma prayed to her with wishes and hopes and disappointments.

Depending on a community's religious standing and beliefs, saints may play a large role in Chicanx and Latinx spiritual practices as they offer guidance, support, love, and hope to many. Santa Muerte is a saint of death, with the most common prayer or petition being:

"Beloved Death of my heart, do not abandon me, protect me, and do not allow [name] a single moment of peace, bother him constantly, torment him, worry him, worry him, so that he will think of me always. Amen."

Imploring Santa Muerte typically means asking Santa Muerte for some of her power so one may have more control over her former lover. The relationship to Santa Muerte is much more equal than that of other saints, and it represents an exchange or a give and take, offering a chance to have a two-way relationship, as one seeks in their relationships with others.

Module 9

Lowriders are a customized form of car that traditionally has very colorful and unique paint designs. Additionally, lowriders typically have hydraulic jacks and have bodies that are quite low to the ground. Lowriders can be seen as a representation or symbol of Chicanx culture, depending on the community and the meaning of lowriders in their history. Lowriders can also provide a sense of community and recover a barrio aesthetic.

Quinceañeras are massive celebrations within cultural borderlands, marking the 15th birthday of a Latina or Chicana girl, celebrating her shift from childhood to womanhood. The idea of quinceañeras that are widely circulated in US pop culture is very uniquely Latin American. Quinceañeras in the United States are a testament to the traditions of their homeland (or their ancestors' homeland) as well as the increased opportunities that Latinx families have in America. Traditionally, quinceañeras are only as big and extravagant as they are in America for the most wealthy of families; however, some Latin American families spring for the most lavish and sizeable celebration to make up for the lost quinceañeras of other family members and ancestors.

Retro-acculturation is typically described as older Hispanic, Latinx, or Chicanx people seeking to learn or refine the Spanish language in an effort to strengthen their culture. Additionally, this practice also involves teaching younger generations about their culture, including traditions and the language and values. Retro-acculturation allows Hispanic populations to take back their culture and their identity, where previous generations may have assimilated or acculturated to American culture. Retro-acculturation highlights the significance of being bilingual and bicultural.

Cultura joteria addresses the intersectionality of being a part of two communities: the LGBTQ+ community and a Latinx, Chicanx, or Indigenous community. The term "joteria" is used in place of "queer" or "LBGTQ" to offer a term specifically for Hispanic or Latinx communities. Two-spirit individuals and gender non-conforming individuals, to list a few among many identities, are included within this umbrella term. The intersectionality of these identities can provide additional risk factors and challenges for these individuals, although it may look different than for White Americans. For example, it is less common for joteria individuals to "come out" in Mexico because sexual orientation and behaviors are treated with more dignity and respect, as was stated in the textbook.

Module 11

Rasquachismo is a form of art that makes something out of nothing, or uses materials that other people might write off to create something creative and new. Rasquachismo might take forms ranging from dresses to graffiti, and everything in between. Rasquachismo can often act as the intersection between race, or ethnicity, and other social factors that influence identity, such as gender, class, sexual orientation, ability, and age. Rasquachismo can also be a form of protest or rebellion against inequality and stereotypes. Rasquachismo can make a statement on an individual and community level, or it can challenge political standards and have a larger impact in our society.

Latinx rockabilly plays a role in creating identity and community among Latinx communities. Although rockabilly is typically seen as a White music genre, Chicanos and Latinx people have been a part of this genre from the beginning, but they are often overlooked. In reality, the rockabilly and rock and roll era contained Americans of every ethnicity, race, and skin color. However, the renewed interest in rockabilly in a modern-day environment offers a space for Chicanx and Latinx communities to explore their identities and celebrate a part of music history that is not commonly recognized. Latinx rockabilly also offers a stage for Latinx people to make a statement, whether that is about social justice or individual struggles.

One Latinx rockabilly (or razabilly, as some call it) artist is Vicky Tafoya. Vicky Tafoya is a proud Latina artist who sings R&B, rock and roll, and doo-wop music while putting her own spin on these genres, as a part of what some are calling "Chicano soul music". Another razabilly artist is El Vez, also known as "The Mexican Elvis," who many have credited with expressing revolutionary ideologies through his music. Whereas many Elvis impersonators are simply a recreation of the original, El Vez puts his own spin on the Elvis style and performance. El Vez combines the traditional rockabilly look with his Latinx heritage.

Module 8

Photography and film have the potential to shine a light on the narratives of the misrepresented and underrepresented communities that are not given a voice in popular culture and media. It has the power to expose alternative narratives that are otherwise silenced and covered up. One example of this is the documentary, Maquilapolis, which exposes the ongoing fight against inequality and oppression in maquiladoras, or mass production factories just south of the US-Mexico border. This documentary allowed the women working in these factories to speak their truths and expose the issues within and outside of the maquiladoras, including pollution into the city's waterways and resulting birth defects.

Maize is a grain which is traditionally used in many different ways in various Latinx and Chicanx cultures. Considering maize is central to traditional dishes and rituals, it often represents a connection back to indigeneity as well as generational knowledge, beliefs, and values. As is the case with other cultures and ingredients, the continuation of these traditions and use of maize helps keep these cultures and the histories alive.

The idea of farm-to-table is typically portrayed in a positive manner in popular culture and media, with the occasional focus on environmental impacts. However, there is little to no discussion regarding the migrant labor upon which it relies. Farm work in our high demand, unequal society is often undesirable and unfulfilled by American citizens, which is why migrant labor is most often utilized. Because many of these individuals are severely reliant on these jobs and lacking citizenship or documentation, companies can exploit them with worse working conditions and lower pay. Especially under Trump presidency, this population was at more risk of losing jobs and being deported, and were considerably under-appreciated as essential workers in this country during the global COVID-19 pandemic.

There is no doubt that America loves Mexican food. This can clearly be seen through the popularity of fast food chains such as Taco Bell and Chipotle and Qdoba. However, there is a huge divide between the general appreciation and enjoyment of Latinx foods and the widespread hate and fear of Latinx communities.

Module 7

Artivism is the mixture of art and activism. In this way, artivism offers a space to bring to light the things that are often swept under the rug in our society. I think art has the power to bring awareness to individual issues as well as larger societal issues, and it also has the power to bring together communities and speak the truths of many. Artivism can often inspire a great deal of hate and controversy, such as Alma Lopez’s Our Lady, but there is always backlash to marginalized and oppressed groups speaking out against inequality and taking up space in our society.

Alma Lopez created a powerful, unabashed Chicana version of Our Lady of Guadalupe, or Virgen de Guadalupe. There were protests and death threats as a result of this image, but I think that in and of itself highlights the need for this artivism and its significance. Our Lady of Guadalupe is customarily a White woman, which is one example of an overarching issue regarding lack of Chicanx representation in religious images and figures.

Latinx communities often have a unique transgenerational and transnational identity which is infrequently discussed or addressed; however, Latinx pop art has the ability to represent and touch on this aspect of Latinidad. Although artivism can divide, it can also bring people together and discuss crucial issues in our society without lessening and quieting the message for the comfort of the public.

Module 4

Typical science fiction storylines portray White, straight, able-bodied men as saviors and often portray people of color as villains and criminals. Latinx individuals are frequently shown as bandits or gangsters or immoral offenders within our society. Latinx creators of science fiction are few and far between in comparison to White creators of science fiction, but they often push the boundaries of sci fi to discuss things that impact them in real life, such as racism, sexism, xenophobia, inequality, and oppression. Latinx sci fi creators write more inclusive storylines for Latinx audiences of all colors and backgrounds, which can be impactful not only for Latinx communities, but communities of color as a whole.

Although this area of popular culture is predominantly White and more difficult for artists of color to get into, change is slowly being made in this area. For example, Zoe Saldana- a fantastic Afro-Latina actress- has been in a number of science fiction movies, including Guardians of the Galaxy and Avatar. Additionally, a very recent and very popular version of Spiderman, Spiderman: Into the Spiderverse, had an Afro-Latino main character and did a nice job of acknowledging his heritage and treating him as a very capable and relatable character.

Chicanx-futurism was initially inspired by Afrofuturism, and was created to counter the centering around White in science fiction and US popular culture as a whole. I think it speaks to the voices and strength in the Latinx communities, as well as the determination to create significant change in regard to the problematic themes in our popular culture, ignoring or misrepresenting communities of color, rather than giving them the opportunity to speak their truths and take their rightful place in various forms of media.

I have never personally been very passionate about comics and science fiction, but when I watched Spiderman: Into the Spiderverse, it meant so much to me to see an Afro-Latino character on the screen. I knew that there is very little diversity and inclusivity in this area of American pop culture, and I knew it would have a massive impact and was a major turning point for us all.

Module 1

The introduction to The Routledge Companion to Latina/o Popular Culture discusses the distinction between American popular culture and Latinx popular culture. Latinx popular culture is important because it exposes the fallacies and the inequality and marginalization in American society that is otherwise being concealed by American popular culture. Latinx popular culture also offers a space and a community for Latinx communities who feel as if they are not seen or portrayed accurately in US pop culture and media. It offers a space for Latinas and Latinos alike to participate in the conversation and explain their experiences and their truth.

Unfortunately, American pop culture contains many different stereotypes of the Latinx community. There are a number of overarching stereotypes in American pop culture, including that of Latinx individuals is that of the curvy and oversexualized Latina, the maid or cleaner, the “illegal” immigrant, the immoral and drug-selling Latino gangster, and the “other” in American society.

I very much appreciate the Latinx popular culture that I was able to find and participate in when I was growing up. I typically only saw pop culture that made fun of Latinx people or ignored them altogether, which was confusing for me. However, it was helpful seeing Selena Gomez in Wizards of Waverly Place because she was half Hispanic, like me, although her heritage and culture were infrequently touched on. When I found Mitù in high school, it was refreshing to find a space that touched on my experiences and promoted and encouraged Latinx people to pursue their dreams. It made me feel less alone and it made me feel a part of something bigger than myself, even if I didn’t feel that in my everyday life growing up in Boulder.

Module 6

Chapter 14 highlighted the use of art, literature, dance, and hip hop to express Latinidad and express one's identity. These forms of expression also act to develop resistance against the racism and inequalities in American society. The alterNative point of view asserts that injustice and racism in today's society is created by colonialism.

Chapter 15 discussed the use of English and Spanish, or what is called "Spanglish". This form of language is frequently used by younger Latino individuals, and it appears in many different areas of American culture, including advertisements, businesses, television, music, and individual conversations. Although many educators prohibit Spanglish and view it as a stepping stone between Spanish and English, it holds its own as a form of language, identity, and community.

I found the textbook's mention of Spanglish to be very interesting because I had never previously given Spanglish a second thought, but this reading opened my eyes to how difficult code-switching is and how important Spanglish is. In addition to Selena, a number of artists use Spanish and English in their music, and it has become more and more popular. However, among the R&B and alternative music genres, Latino and Spanish-speaking artists are more rare, so the use of Spanglish and the use of Latinidad in these genres is a nice change of pace. Specifically, my current favorite artists that use Spanglish are Orion Sun, Kali Uchis, and The Marías. These artists are pictured below.

Chapter 16 analyzed the use of radio as a means of creating internal resistance and providing a sense of community and identity for LatinX and ChicanX communities. This form of resistance should not be overlooked, because it has a great deal of potential in spreading messages and creating community and belonging.

Module 5

Brown bodies have frequently been portrayed in a stereotypical manner or left out altogether in media, including Broadway; however, LatinX actors, creators, and communities have found ways to speak their truth and display their talent in various different ways.

Chapter 11 of the textbook, entitled "Performing Mestizaje," describes what is known as "performing Indigeneity" as a means of expressing and recreating experiences of being Indigenous. This can also serve to be spiritually activist, and personify (or perform) their ancestral histories.

Chapter 12, "Brown Bodies on the Great White Way," draw examples of LatinX theater groups and plays. The traditional Broadway scene typically excludes actors and creators of color, and infrequently popularizes plays revolving around people of color. However, there are some exceptions to this general rule. The textbook discussed various alternative theater groups, such as Teatro Vival and Pregones Theatre, as well as a number of plays. Zoot Suit (1979) was the first Chicano play on Broadway, and In the Heights addresses multiple issues and obstacles which LatinX communities face, including financial struggles, racism, and immigration.

Chapter 13, titled "Siempre Pa'l Arte," details the art of the spoken word, such as poetry. This form of expression can be especially personal because emotions and passion are often demonstrated and embodied. LatinX spoken word allows artists to express their oppression, their struggles, their joys, and their dreams. The lecture lists one Afro-Mexicana spoken word artist, named Ariana Brown.

The "Grupo Tlaloc" is the first, and oldest, Denver-based group of Chicano and Mexicano individuals dedicated to sustaining and protecting their heritage and culture, as well as promoting education on Aztec, Mexican, and Native American culture. They perform and work with various organizations within Denver, in addition to expanding their work to international destinations such as Mexico, Canada, Jamaica, and numerous US territories.

I found this group's story to be fascinating, especially because their culture was once dormant and they revived it and created a community as well as a mode of education for others. I found that to be really inspiring, and gave me some hope as I continue to explore my heritage and attempt to understand and reclaim it.

Module 3

The readings for Module 3 explored the representation of Latina/o voices and characters in various types of media, including television shows, movies, and video games. Latina/os are infrequently represented in today's media, and when they are, they are typically stereotyped, cliche, and racist. Stereotypes that are pervasive of LatinX communities include pan-Latina/os, gang members, maids, illegal immigrants, and lawbreakers.

In children's media, the majority of LatinX representation is created by White people primarily for White people, such as Dora the Explorer, as a means of commodifying LatinX cultures rather than for the purpose of proudly displaying culture. Unfortunately, children's media created by LatinX individuals is infrequently popularized and it often stops airing quickly, such as El Tigre. One exception to the general lack of representation in children's media: The Book of Life. This offers an intimate look at Mexican folklore, aimed at children of all cultures, giving them a message of hope.

Previous to these readings, I hadn't realized just how problematic Dora the Explorer was. For me, Dora represented a chance to learn the language my family had long ago abandoned, and an interactive experience when my parents were working or didn't have the time or energy to play with me. However, looking back on Dora the Explorer, and seeing it through the lens of ethnic studies, it is upsetting that Dora was created by White people and her ethnicity has never been specified.

In cyberspace, the articulation and representation of race on this platform is rarely studied, and when race is mentioned, Latina/o groups are infrequently mentioned. This likely is a part of the larger system of racism toward Latina/o communities. Additionally, the once-known phenomenon called the "digital divide" has recently been bridged by younger generations of Latina/os who speak English and were born in the United States.

In video games, as in other forms of media, Latina/os are under-represented and stereotyped. This occurs not only with video game characters, but also with video game developers. This is an immensely important point to understand because video games are growing in their level of influence, on a global scale. The stereotypes of Latina/o groups that are pervasive in video games are highly influential on how people continue to view these groups; however, there is hope for video games. As mentioned in Gaming the Past: Using Video Games to Teach Secondary History, historically accurate video games can help middle and high schoolers learn about moments in history in a new way: through experience.

I do not personally play many video games, but I found the author's descriptions of the historically accurate and Latina/o-inclusive games to be intriguing. I had learned about Assassin Creeds: Freedom Cry from a previous class in ethnic studies, but I wasn't aware of the Latina/o representation in other video games, such as Turista fronterizo, I Can End Deportation! (ICED!), and Global Conflicts: Latin America.

Module 2: LatinX Pop Culture

The readings for Module 2 described the advancements associated with LatinX representation in Western pop culture, as well as the issues underlying this progress.

Specifically, shows such as Dora the Explorer and Juan Bobo commodify- or are used as a means of making money- LatinX cultures while not doing the intricacies and traditions of these communities justice. In the case of Dora and Juan, these characters embody the cartoonizing and whitewashing of Latinidad in order to make it more digestible for White audiences. By not distinguishing the ethnicity and heritage of LatinX characters in pop culture, we are creating one unidentifiable, racially ubiquitous race and are perpetuating the idea that Latinos are all the same.

I have noticed this aspect of television in my own TV-watching experiences. Notably, although there is an increase in people of color in popular TV shows and movies, these characters typically perpetuate certain stereotypes or are whitewashed, so the various cultures and traditions of other ethnicities and races are still being excluded from the general movie and TV industry.

I found the origin of Juan Bobo to be particularly interesting because I had not realized his story originated from Puerto Rican oral tales. Additionally, I found colonists' use of Juan Bobo for their own benefit to be quite manipulative. Moreover, I think that this fact should have been taken into careful consideration before making a show about Juan Bobo for the producers' and the industry's economic interests and desires. The use of Juan Bobo's story took Puerto Rico's beloved trickster from historically oral accounts and infused the story with stereotypes, as well as exploiting the culture behind this story and monetizing a cherished tale.

The majority of LatinX actors, producers, directors, and crew members make their start in children's television because it typically has low production value; therefore, it is often the stepping stone for people of color in the television industry. Once again, although people of color are featured more commonly in pop culture today, it is still significantly harder for them to make it to desirable roles and get into the industry.

The documentary, Maquilapolis, looks into the Mexican women working in maquiladoras, or large factories, while allowing the women to film their own experiences as the factories exploit and endanger the communities they set up shop in. This documentary showcased the women's stories, allowing them to tell their stories as they preferred, and documented their accounts of unfair treatment and wages, pollution in their homes, and taking legal action against these companies.