Early Identity, Environment, and Experience

2020 ◽  
Vol 97 (4) ◽  
pp. 133-136
Author(s):  
Gabriela González

Josefina Fierro de Bright served as a political and social activist in the 1930s and 1940s through her participation in the Mexican Defense Committee, El Congreso (the National Congress of Spanish-Speaking Peoples), and the Sleepy Lagoon Defense Committee, as well as her important efforts to end the violent attacks on ethnic Mexicans in Los Angeles during the Zoot Suit Riots. Fierro participated in organizations focused on human, civil, women’s, and labor rights. She contributed to a cross-cultural “politics of opposition” determined to create a world where true equality might flourish. She used American nationalist and transnationalist approaches. In the United States, Fierro networked with activists, celebrities, and political leaders who supported many of the same causes that she did. Her transnational approach materialized in the form of collaboration with the Mexican consulate, which also sought to secure the human rights of ethnic Mexicans living in the United States during a time of strong anti-Mexican sentiment. In order to understand why and how Fierro emerged as a leader willing to challenge the racism undergirding the segregation and mistreatment of ethnic Mexicans in California in the 1930s and 1940s, this study examines her family’s history of social activism, the fluid sociocultural environment of an American Left in which women played central roles, and her bold and charismatic leadership style.

2000 ◽  
Vol 16 (2) ◽  
pp. 367-391 ◽  
Author(s):  
Richard Griswold del Castillo

The so-called Zoot Suit riots in Los Angeles in June of 1943 made Latin Americans more aware of the negative racial attitudes within the United States toward Mexicans. Through the publicity surrounding the riots, they also first learned of the existence of a large ethnic group of Mexican origin. This knowledge, however, often came with an additional message that the Mexican American culture was not worthy of esteem by respectable people. / Los disturbios llamados "Zoot-Suit" que ocurrieron en Los Angeles en Junio 1943 hizo saber a los latino americanos que las actitudes de los norteamericanos hacia los mexicanos no eran muy positivas. A través de la publicidad durante los disturbios, aprendieron por la primera vez de la existencia de un gran grupo étnico de origen mexicano en los Estados Unidos. Desgraciadamente esta información vino con otro mensaje que la cultura de los mexicoamericanos no era digna de honor por la supuesta gente decente.


2020 ◽  
Vol 20 (2) ◽  
pp. 45-54
Author(s):  
Samuel H. Yamashita

In the 1970s, Japanese cooks began to appear in the kitchens of nouvelle cuisine chefs in France for further training, with scores more arriving in the next decades. Paul Bocuse, Alain Chapel, Joël Robuchon, and other leading French chefs started visiting Japan to teach, cook, and sample Japanese cuisine, and ten of them eventually opened restaurants there. In the 1980s and 1990s, these chefs' frequent visits to Japan and the steady flow of Japanese stagiaires to French restaurants in Europe and the United States encouraged a series of changes that I am calling the “Japanese turn,” which found chefs at fine-dining establishments in Los Angeles, New York City, and later the San Francisco Bay Area using an ever-widening array of Japanese ingredients, employing Japanese culinary techniques, and adding Japanese dishes to their menus. By the second decade of the twenty-first century, the wide acceptance of not only Japanese ingredients and techniques but also concepts like umami (savory tastiness) and shun (seasonality) suggest that Japanese cuisine is now well known to many American chefs.


2020 ◽  
Vol 52 ◽  
pp. 127-146
Author(s):  
KRISTINA F. NIELSEN

Abstract (Spanish/English)Forjando el Aztecanismo: Nacionalismo Musical Mexicano del Siglo XX en el siglo XXI en Los ÁngelesHoy en día, un creciente número de músicos mexico-americanos en los Estados Unidos tocan instrumentos indígenas mesoamericanos y réplicas arqueológicas, lo que se conoce como “Música Azteca.” En este artículo, doy a conocer cómo los músicos contemporáneos de Los Ángeles, California, recurren a los legados de la investigación musical nacionalista mexicana e integran modelos antropológicos y arqueológicos aplicados. Al combinar el trabajo de campo etnográfico con el análisis histórico, sugiero que los marcos musicales y culturales que alguna vez sirvieron para unir al México pos-revolucionario han adquirido una nuevo significado para contrarrestar la desaparición del legado indígena mexicano en los Estados Unidos.Today a growing number of Mexican-American musicians in the United States perform on Indigenous Mesoamerican instruments and archaeological replicas in what is widely referred to as “Aztec music.” In this article, I explore how contemporary musicians in Los Angeles, California, draw on legacies of Mexican nationalist music research and integrate applied anthropological and archeological models. Pairing ethnographic fieldwork with historical analysis, I suggest that musical and cultural frameworks that once served to unite post-revolutionary Mexico have gained new significance in countering Mexican Indigenous erasure in the United States.


2011 ◽  
Vol 173 (10) ◽  
pp. 1121-1130 ◽  
Author(s):  
D. L. Chao ◽  
L. Matrajt ◽  
N. E. Basta ◽  
J. D. Sugimoto ◽  
B. Dean ◽  
...  

1991 ◽  
Vol 1 (1) ◽  
pp. 8-23
Author(s):  
Roger Rouse

In a hidden sweatshop in downtown Los Angeles, Asian and Latino migrants produce automobile parts for a factory in Detroit. As the parts leave the production line, they are stamped “Made in Brazil.” In a small village in the heart of Mexico, a young woman at her father’s wake wears a black T-shirt sent to her by a brother in the United States. The shirt bears a legend that some of the mourners understand but she does not. It reads, “Let’s Have Fun Tonight!” And on the Tijuana-San Diego border, Guillermo Gómez-Peña, a writer originally from Mexico City, reflects on the time he has spent in what he calls “the gap between two worlds”: “Today, eight years after my departure, when they ask me for my nationality or ethnic identity, I cannot answer with a single word, for my ‘identity’ now possesses multiple repertoires: I am Mexican but I am also Chicano and Latin American. On the border they call me ‘chilango’ or ‘mexiquillo’; in the capital, ‘pocho’ or ‘norteno,’ and in Spain ‘sudaca.’… My companion Emily is Anglo-Italian but she speaks Spanish with an Argentinian accent. Together we wander through the ruined Babel that is our American postmodemity.”


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