Cite two passages (one or two sentences) from chapter 2 and chapter 7 from Gloria Anzaldua's Borderlands/La Frontera: The New Mestiza that you think relate to the class. [One paragraph per chapter]
How does Queer Aztlan: re-Formation of Chicano Tribe by Cherrie Moraga contribute to the discourse of the class? Cite two examples. What is the debt Moraga states is owed to lesbians? [one paragraph]
I asked you to write down your reaction to the documentary United in Anger: A History of ACT UP. What was that reaction? What did you know, if anything, about the HIV/AIDS movement? What are two scenes or people who stood out to you? How does Gay Sex in the 70s complement United in Anger? [one paragraph]
Why do you think I am stressing the popular culture of the era (1970s to early 1990s), the music in particular? [2 or 3 sentences]
What is your reaction to the film All About My Mother? The film references a possible cure to AIDS through the third Esteban (Jesus Christ)...is this a sign of hope or irresponsible film making?
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ReplyDeleteReplying to Gloria Anzaldúa's Boderlands La Frontera: The New Mestiza.
ReplyDelete"For the lesbian of color, the ultimate rebellion she can make against her native culture is through her sexual behaviour. She goes against two moral prohibitions: Sexuality and homosexuality".
in this passage Gloria speaks to the true of the fear of goingo home. To the choice we have to either embrace to be queer or remain in the closet. she invites us to embrace and balance duality
Replying to How does Queer Aztlan: re-Formation of Chicano Tribe by Cherrie Moraga contribute to the discourse of the class?
ReplyDeleteIn connecting the topic of HIV and AIDS, Cherry Moraga highlights how the AIDS epidemic seriously shaken the foundation of the Chinana/o gay community. How in the fight against AIDS, we have been rejected and neglected by both the white gay male establishment and the Latino heterosexual health-care community, only to be embrace by our lesbians’ sisters in our communities.
The debt that is owed to lesbians is the contributions they have made to the gay community to voiced their discontent about the treatment of all gays, and to fight for inclusion for all humans, specially, to seek a nation strong enough to embrace a full range of racial diversities, human sexualities, and expressions of gender. (Pg, 235)
Replying to All About My Mother?
ReplyDeleteWhat is your reaction to the film All About My Mother?
Manuela is a single mother of Madrid, who brings her only son Esteban to a Tennessee Williams play, A Streetcar Named Desire for his 17th birthday. After the play, they wait outside to get the autograph of one of the actresses. He doesn’t receive it and proceeds to chase their taxi down and gets hit by a car and dies. Manuela decides to go to Barcelona to find Esteban’s father, a transvestite named Lola, who doesn’t know that he is a father. She finds her old friend Agrado who is also a transvestite. Manuela needs a job so Agrado brings her to Rosa, a nun, who is three months pregnant with Lola’s child, and contracted AIDS from Lola. Manuela goes to the same production of A Streetcar Named Desire and meets the actress her son was chasing after, Huma. Manuela helps take care of Rosa and works for Huma.
The film references a possible cure to AIDS through the third Esteban (Jesus Christ)...is this a sign of hope or irresponsible film making? I believe it is when After Rosa has the baby, she dies from AIDS, and Lola comes back and is also dying from AIDS and meets his new son who Manuela names Esteban. Manuela heads back to Madrid the same way she did before, with a baby son.
Reaction to the documentary United in Anger: A History of ACT UP.
ReplyDeleteHIV/AIDS activists were masterful in their ability to utilize the media and demonstrations to put a human face on the disease. They mounted demonstrations that offended people and made policy makers and federal officials uncomfortable. Once activists had garnered the attention to put AIDS on the national agenda, they began to focus in a more targeted way at specific goals, specific institutions, specific solutions. “The activists not only got attention effectively, they also did their homework and knew what to ask for.” I am forever grateful to the courageous work to all the ACT-UP activists. Today, I stand alive and I am able to benefit from the sacrifices these activists made.
What did you know, if anything, about the HIV/AIDS movement?
Being a long-time survival of the AIDS epidemic, I have known of the history of ACT-UP, however, this documentary/ film gave me more in-depth information and a new perspective
How does Gay Sex in the 70s complement United in Anger?
Before the AIDS epidemic during the 70’s we were free to have anonymous sex, and in United in Anger sex was the main topic that the activist was trying to bring
Why do you think I am stressing the popular culture of the era (1970s to early 1990s), the music in particular?
Perhaps because throughout the 70’s and 90’s music was interconnected to sex and drugs; the discos and bars were a place frequented by anyone wanting a good time. For me, I associated music with drugs, specially Techno music
Cite two passages (one or two sentences) from chapter 2 and chapter 7 from Gloria Anzaldúa's Borderlands/La Frontera: The New Mestiza that you think relate to the class.
ReplyDeleteIn Chapter Two, Gloria Anzaldúa alludes to her experiences with a “muchacha who lived near [Anzaldúa’s] house” and who “la gente del pueblo talked about being una de las otras” (19). This most stood out to me because Anzaldúa so vividly illustrates the disdain folks in her community had towards another person of the same community who had a trans identity: “...for six months she was a woman who had a vagina that bled once a month, and...for the other six months...had a penis and peed standing up. They called her half and half” (19). The aforementioned quote is so powerful because I think this belief system exists in the larger pan-Latinx community; the toxicity and violence perpetuated by homophobia and transphobia is something that becomes notable even in the most simple interactions. While Anzaldúa mainly focuses on the Chicanx and/or Xicanx communities, it is also a fair assessment to say that transphobia and homophobia is not exclusive to those communities. On the contrary, it exists and is prevalent in all of our communities – Chicanx, Xicanx, both or neither. For that reason, I think it is important to the content of this class, because Anzaldúa makes us interrogate and challenge how our communities can think of things as a binary: either this or that, and even so, there are larger covert and overt dogmas that instruct Latinx peoples what the “right” way to be is. Like Anzaldúa does in this excerpt, we too, in Professor Omar’s class, question these said dogmas and begin to break ties with the oppressive binaries that restrict ourselves and our communities of color.
In Chapter Seven, Anzaldúa expresses the complex nature of her relationship between her identity and her culture when she exemplifies: “As a mestiza, I have no country… As a lesbian I have no race, my own people disclaim me…” (80). More importantly, Anzaldúa explores the deeply rooted patriarchy that catalyzes the violent and excusatory beliefs and practices within the Chicanx and/or Xicanx community. This disdain and repulsion that is felt towards womxn–but particularly womxn of color engaged in disengaging from hegemonic masculinity–is expansively explored when Anzaldúa states that she is “cultureless because, as a feminist, [she] challenges the collective cultural/religious male-driven beliefs of Indo-Hispanics and Anglos.” The aforementioned quote resonates with the class material discussed thus far because it captures how patriarchy is the root cause of many of our struggles. It captures why Chicanx and Xicanx Muxeres (and womxn of color more broadly) cannot challenge the status quo and if they do, they risk losing people they love and value, such as family and friends, and things that supersede the material world.
How does Queer Aztlán: re-Formation of Chicano Tribe by Cherrie Moraga contribute to the discourse of the class? Cite two examples. What is the debt Moraga states is owed to lesbians?
ReplyDeleteIn the opening paragraphs of Queer Aztlán: the Re-Formation of Chicano Tribe, Cherríe Moraga discusses the factors that led to the creation of “Queer Aztlán.” Stemming from an imperative to include “all its people, including its jotería,” (225) the idea of Queer Aztlán challenged the euro-centric gay and Chicano Nationalism movements that were more exclusionary than welcoming of gay and lesbians of color. In connection to what we learned earlier during the quarter, lesbians and gay Chicanxs–particularly those who were at the forefront of the Chicanx movement–were marginalized or excluded from the movement all together. To further expand on some of the themes we’ve been learning in class, Moraga argues that contrary to the belief, the “Movimiento did not die..in the seventies...it was only deformed by the machismo and homophobia of that era…” (230). Strikingly, in an attempt to counter their “emasculation” by “Anglo-America...the male-dominated Chicano Movement embraced the most patriarchal aspects of its Mexican heritage” (230). One of the largest consequences this had was in the conversations that were being had (or not being had for that matter) in the Chicanx community surrounding AIDS and HIV (234). Instead of normalizing these conversations, queer folks of color were being admonished for their sexual proclivities. Perhaps it is an over-simplification of an even more complex and dynamic relationship between nationalism, gender, and identity, but it is striking to see how hegemonic masculinity has engendered and continues to engender divisions within communities of color and breeds a sort of cultural cancer that is hard to heal from.
Finally, throughout most of the reading, Moraga attributes both gay men and lesbians to the advancement of the Chicanx movement: “...lesbians and gay men make a significant contribution to the creation of a new Chicano movement…” (235); however, she specifically addresses Chicana feminists as the sole individuals to have complicated the former Chicanx movement vision so as to alter its trajectory or future generations. She exemplifies that lesbians have pioneered the most difficult conversations and have advanced the most “outspoken criticisms” (232) surrounding sexual abuse, domestic violence, immigrant rights, Indigenous women’s issues, and health care.
I asked you to write down your reaction to the documentary United in Anger: A History of ACT UP. What was that reaction? What did you know, if anything, about the HIV/AIDS movement? What are two scenes or people who stood out to you? How does Gay Sex in the 70s complement United in Anger? [one paragraph]
ReplyDeleteThe documentary United in Anger: A History of ACT UP incited feelings of frustration and anger, particularly towards the United States government, the U.S. Food and Drug Administration, and all the other government agencies who purposely turned a blind eye when thousands of people were dying. Despite experiencing these visceral feelings, I felt conviction witnessing the power that collective mobilizations have. Had it not been for the thousands of folks who saw it necessary to take their own fate into their own hands and protest across the United States, it is likely the United States would still have their arms crossed. These folks held there institutions accountable for completely hindering or restricting access to life-saving medications. I had previously seen the film, however, its impacts are nonetheless impactful–even a year later. The scene where the mob is laying silently on the Church floor and the scene were folks distribute their loved ones ashes in front of the White House were the scenes that compelled me the most. Particularly in the latter, I can’t even begin to imagine what a taxing experience this must have been for the loved ones letting go the only physical and intimate remnants of their loved ones. In conclusion, Gay Sex in the 70s compliments United and Anger, because the former also explores the early onset of the epidemic. While exploring the disastrous consequences the AIDS epidemic had on the gay community, both films also exemplify the solidarity and mobilizations that came to be as a result. In that sense, both films touch upon gay culture and scene, music, and how folks in the gay community came together to inform positive change for future generations.
Why do you think I am stressing the popular culture of the era (1970s to early 1990s), the music in particular?
ReplyDeleteI think you are stressing 70s to early 90s pop culture because it was markedly a historical turning point in gay representation. For instance, in music videos you’ve shown us, there are various subtle messages (handkerchief in the left vs right pocket; etc...) that may have been esoteric in nature, because the mass consumer base probably wasn’t aware of the significance, but nonetheless, were telling of the marginalization of gay identity in media.
What is your reaction to the film All About My Mother? The film references a possible cure to AIDS through the third Esteban (Jesus Christ)...is this a sign of hope or irresponsible film making?
ReplyDeleteI loved the film! Not only was this film an effective hybrid of genres (i.e. drama, suspense, and comedy), but it was also incredibly well-written and directed. Pedro Almodóvar successfully captured the essence of each character and allowed them to recount their own narratives in a way that didn’t make their sexual and/or gender identities the central features of their characters’ developments. Sure, the characters’ sexual and/or gender identities were important, but insofar as it provided the audience with context into their rationale across different spaces. The characters each contributed to the storyline in different ways whether it was through their charisma, egotism, humor, charm, naivete, or wit. On the other side of the token, the films references to a possible cure through the third Esteban is indeed a sign of hope. And I think the beauty of this lies in the power of being able to push the boundaries of perceived realities through filmmaking. In Almodóvar’s attempt to establish Rosa and Lola’s son as the “new hope”–the third Esteban also comes to be this character that represents new life that came to exist amidst death and despair. And for that reason, Esteban is a reembodiment of sorts.
Cite two passages (one or two sentences) from chapter 2 and chapter 7 from Gloria Anzaldua's Borderlands/La Frontera: The New Mestiza that you think relate to the class. [One paragraph per chapter]
ReplyDeleteGloria Anzaldua’s Borderlands/La Frontera: The New Mestiza serves to expose the machismo of the Chicano culture. One of the passages of Chapter 2 that struck me as significant stated, “Males make the rules and laws; women transmit them.” This statement demonstrates how Mexican American and Chicano culture is male dominated and the role of women in just as important as that of the males in perpetuating this misogyny. The women participate by actively monitoring each other and their children to then follow the traditions that they were taught. Another passage that really stayed with me stated, “The Chicano, Mexicano, and some Indian cultures have no tolerance for deviance.” This sentence solidifies how these cultures really have no acceptance for anything that is considered deviant or out of the norm of the culture.
Chapter 7 goes into more depth about the intolerance of the Chicano culture described in chapter 2. She said something along the lines of commonly held beliefs of White culture contradict Mexican culture, whose beliefs contradict Indigenous culture. Here, she is referring to how the border is at “war” and how Chicanas specifically deal with being judged against the Mexican views and the American Anglo views and traditions as well. This then leads to what she calls a “juggling of cultures” where the Chicana must take on “plural personalities” in order to be able to deal with all of the contradicting beliefs and views on how she should live out her life. This connects to what we have been learning in class because it explains the kind of judgement that not only females but also queer individuals experience in Chicano culture.
How does Queer Aztlan: re-Formation of Chicano Tribe by Cherrie Moraga contribute to the discourse of the class? Cite two examples. What is the debt Moraga states is owed to lesbians? [one paragraph]
ReplyDeleteCherrie Moraga’s writing contributes to our course because it sets up the background of the Chicano Movement. She exposes the mechanisms working behind the movement where machismo and misogyny is predominant while all that is feminine is hated. She explains the kind of oppression of women that the culture perpetuates. The male dominance in the culture has allowed violence against women to be “silenced in the name of” what is “culturally correct”. Moraga states that lesbians in Chicano communities have no culture because their own denounces them since they are women and they are queer. They are going against all values by not being with and serving a man and by not having children.
I asked you to write down your reaction to the documentary United in Anger: A History of ACT UP. What was that reaction? What did you know, if anything, about the HIV/AIDS movement? What are two scenes or people who stood out to you? How does Gay Sex in the 70s complement United in Anger? [one paragraph]
ReplyDeleteWatching United in Anger: A History of ACT UP helped me see the injustices the institutions of the government and the medical research organizations by just standing by and not doing anything about the epidemic. It really helped put everything into perspective and I saw the bravery in the people who put their bodies on the line for the AIDS movement. There was so much I did not know about the HIV/AIDS movement and this helped me to understand the magnitude of the epidemic and the extremity of how fast people were dying. Larry Kramer was a very interesting leader to learn about. His speech in 1997 helped me to better understand the kind of activism and collaboration that was needed to spread the word to the world. Also, the scene where they were protesting and demanding for the National Institute of Health scientists to do their part and help the many who were dying. Watching Gay Sex in the 70s helped me to understand the culture that sat in the background of the Act Up movement described in United in Anger. The cruising that was occurring during this time was also happening in the meetings of Act Up. The sex and liberty that was happening during this time was seen to not have many repercussions until AIDS came along and this is important to be able to understand how fast the epidemic was taking over.
Why do you think I am stressing the popular culture of the era (1970s to early 1990s), the music in particular? [2 or 3 sentences]
ReplyDeleteFrom what I have been able to learn, the 70’ through the 90’s are crucial decades of Queer history and the formation of Queer culture. With the AIDS epidemic that changed everything, the emergence of pop culture is what allowed the Gay men to feel a connection to each other and to a society that has oppressed them since the beginning of time.
What is your reaction to the film All About My Mother? The film references a possible cure to AIDS through the third Esteban (Jesus Christ)...is this a sign of hope or irresponsible film making?
ReplyDeleteWatching the film All About My Mother was much more difficult than I thought it would be. I found it to be so emotionally riveting because of the strong bonds formed between all of the women in the film. After Manuela’s son’s death, she was so strong and helped the other women who entered her life to be strong. It was especially interesting to see the connections and bonds that women make with each other in life such as how the nun connected with Lola. While taking care of her they formed a close bond that even led to the nun, Hermana Rosa getting pregnant. I feel as though that is why this film is so special because it speaks on the bonds that unite women in a world where machismo is still so prominent. There were so many moments where she took action to help and protect the women in her life. Manuela was there for Agrado when she was getting beat up. She cared for Hermana Rosa when she got tested and went to the doctor. As far as the idea of the third Esteban holding the possible cure to AIDS, I kind of saw this as a way that the film is showing a call to action. It is kind of like demonstrating how after all that pain that they all experienced, Manuela and others were still fighting for the future.
Cite two passages (one or two sentences) from chapter 2 and chapter 7 from Gloria Anzaldua's Borderlands/La Frontera: The New Mestiza that you think relate to the class. [One paragraph per chapter]
ReplyDeleteIn Chapter Two, Gloria Anzaldua explains that “[h]umans fear the supernatural, both the undivine (the animal impulses such as sexuality, the unconscious, the unknown, the alien) and the divine (the superhuman, the god in us).Culture and religion seek to protect us from these two forces” (39). Anzaldua reiterates that within Latino culture, many people tend to be uncomfortable with sexuality because it is considered “undivine.” Anzaldua alludes to the notion that Catholicism and Mexican culture has demonstrated contempt towards anything and anyone outside of the paradigms of heterosexual sex. Sex is already in of itself a sin that should only be utilized to procreate. Not for seeking pleasure. We see this in religions like Catholicism where the child is baptized to remove the sin of sex As a result, when some Mexican folks see two men kissing or anything remotely intimate, it is their innate homophobia.It is important for this class because we have to understand the foundation of why folks in our community feel a certain way about sexuality in order to redefine what it means to have sex and to be intimate with a partner. We have to reconstruct the notion of sex being sinful and understand that sometimes people are not having sex to procreate, in reality, most of the time it is for pleasure. I think as a culture, we need to realize that some of these notions we perpetuate to future generations is leading to many LGBT folks feeling terrified to acknowledge and own their sexuality.
In Chapter 7, Anzaldua describes that “[t]he loss of a sense of dignity and respect in the macho breeds a false machismo which leads him to put down women and even brutalized him… Only gay men have had the courage to expose themselves to the woman inside them and to challenge the current masculinity” (105-106). Throughout this chapter, Anzaldua describes that there is a need to adopt the mestiza consciousness and avoid thinking about binaries because it is detrimental for the people who do not live in one of the binaries. She acknowledges that gay men have been the most forthcoming in this change because they have revealed their femininity in a that culture tends to view women as inferior. This relate to class because we have discussed that although there are gay men who are allies to women, there are gay men who continue to hate on feminine men and women. We need to disregard these binaries because there are discrepancies within these binaries. We have acknowledge how masculinity is toxic for women, but especially men who want to accept their femininity because it can mean life and death in some cases.
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ReplyDeleteWhy do you think I am stressing the popular culture of the era (1970s to early 1990s), the music in particular?
ReplyDeleteMadonna's Erotica music video embraced sexuality and femininity through imagery of Madonna wearing "sexy" clothing and behaving "promiscuously." I felt that this was important especially taking into account that a vast majority of her fans stopped supporting her music as she became more sexually fluid and liberal. The video itself serves as visual art that moves away from the idealization of heteronormativity or monogamy through imagery of Madonna being surrounded by both men and women in a sensual setting while being pictured as an independent figure in other portions of the video. The music video serves as a statement of not needing to adhere to the normalized cultural practices that are driven by the patriarchy. Because of this notion of openness, many artists from this particular era like Madonna can be seen as cultural pillars of the LGBTQ+ community through their performances of solidarity.
I asked you to write down your reaction to the documentary United in Anger: A History of ACT UP. What was that reaction? What did you know, if anything, about the HIV/AIDS movement? What are two scenes or people who stood out to you? How does Gay Sex in the 70s complement United in Anger?
ReplyDeleteA consistent theme that I noticed throughout the film was a dichotomy between empowerment and disempowerment; while there existed a very strong sense of solidarity among ACTUP activists but constant denial and pushback from the state with incremental change that led to the delayed accessibility to drugs. Prior to having watched the film, I only knew about the informative brochures that were handed out with condoms but I hadn't known about the organization until now.
During each of the organized protests, each of the activists that were dragged away continued to chant showing that they were not willing to be silenced. Each time someone was dragged away by the police I saw how committed to the cause each individual person was. When they were protesting in the street and every activist was sitting and each person being dragged away by the police was, in some respect, symbolic of each person being taken out of the world as a result of no access to proper medication.
Another scene that stood out to me was the protest that took place in the church renouncing the catholic religion because it attacks LGBTQ+ motives. While people who consider themselves politically centrist might have seen this as impeding on others belief systems, they might consider that the catholic church itself is politically charged in its negative messages against the LGBTQ+ community in terms of labeling its community members as "sinners" or "deviant."
Although there was a theme of loss in both films, there was a very stark contrast between Gay Sex in the 70s and United in anger in terms of the political engagement. Gay Sex in the 70s primarily focused on how liberated gay men felt in their ability to express sexual desire towards one another in the 70s. Once AIDs entered the community, the documentary focuses on individual loss and how each person was being affected. United in Anger focuses on the political action in response to the lack of effective policy measures for accessibility to AIDS medication.
Cite two passages (one or two sentences) from chapter 2 and chapter 7 from Gloria Anzaldua's Borderlands/La Frontera: The New Mestiza that you think relate to the class.
ReplyDeleteIn chapter 2, Anzaldua dissects the structures of patriarchy through the latinx lens. She begins by stating that "The culture expects women to show greater acceptance of, and commitment to, the value system than men" (16). The responsibility of passing on gender roles is unwillingly thrusted upon women while we are simultaneously being constrained by our own role to be subservient to men. As women, we are indoctrinated to be ashamed of our bodies but we are valued and placed on a pedestal for emotional labor. Anzaldua adds that "Much of what the culture condemns focuses on kinship relationships" (18). Thus domestic labor becomes the quintessential pillar of womanhood.
In Chapter 7, Anzaldua focuses on constructing a new mestizaje that embraces a progressive system which rejects racial homogeneity and heteronormative thinking. This entails a new masculinity in which men dissect and resolve their suppressed emotions and embrace femininity. "Tenderness, a sign of vulnerability, is so feared that it is showered on women with verbal abuse and blows" (84). In other words, the current structure of masculinity allows for internalized male oppression to lead to the mistreatment of women. Anzaldua emphasizes that in order to make progress towards this new future, "the work of mestiza consciousness is to break down the subject-object duality that keeps her a prisoner..." (80). Ideas of femininity or masculinity need to be surpassed by upturning the patriarchy in order to achieve mestiza consciousness.
How does Queer Aztlan: re-Formation of Chicano Tribe by Cherrie Moraga contribute to the discourse of the class? Cite two examples. What is the debt Moraga states is owed to lesbians?
ReplyDeleteMoraga's work contributes to the discourse of the class in her discussion of a Chicanx Homeland called "Aztlan." She writes that because the chicanx culture has forced gay women out of their homes and away from their families, their inclusion and leadership in the new homeland is the least that they are owed.
Relating to the course material, Moraga mentions that when fighting against AIDS, the gay men who were suffering were rejected by everyone but supported by gay latinx women. A second example that relates to the course material is Moraga's discussion of chicanx movement consistently being led by men using examples of the Black Nationalist Movement. Much of our studies encompass dismantling the patriarchy and Cherrie seeks to do this through the construction of Aztlan.
What is your reaction to the film All About My Mother? The film references a possible cure to AIDS through the third Esteban (Jesus Christ)...is this a sign of hope or irresponsible film making?
ReplyDeleteI really admired the female energy in the film; it was empowering to see single women not paired with or defined by male significant others, especially at this age - it sets an example of independence. This is the first film I've seen with an entire female cast whose characters are not contingent on domestic / emotional labor. The scene in which all the women in the film were sitting in the living room spending time with one another reminded me of my home that includes my mom, my three sisters and I; I always felt strengthened by the resilient energy each of them have and they’ve been pillars in my life. Manuela actually makes it a point to say that “Women will do anything to not be alone” when she’s telling her personal story. She seems very secure and confident in her life choices and has a life outside of being a mother figure which is revealed after her son passes.
I also really enjoyed the filming style of the movie as memories of each character were reenacted in a play rather than just individual flashbacks. Incorporating the theatrical aspect to the film I felt was important because it is reflective of the overall theme of the film which is present and fast moving.
In regards to the possible cure for AIDS, the end of the film included a scene in which Manuela mentioned that her son's case wanted to be studied for AIDS because it somehow disappeared. Lola's death paired with the disappearance of the virus seems to be a metaphor akin to erasure. This is not necessarily a sign of poor film-making but rather, it mirrors the reality that the trans community and those affected by AIDS are typically marginalized by society.
Cite two passages (one or two sentences) from chapter 2 and chapter 7 from Gloria Anzaldua's Borderlands/La Frontera: The New Mestiza that you think relate to the class. [One paragraph per chapter].
ReplyDeleteIt is devasting to witness my mother believe she cannot achieve certain goals or dreams because her own culture and tradition molded her to believe they were designed for only men. I noticed she tries to implement the similar mindset to my younger sister, and it has potential to be a never-ending cycle. In Borderlands/La Frontera: The New Mestiza, Gloria Anzaldua states, “Males make the rules and laws; women transmit them” (16). Although I have never met my grandfather, my mother always described him as “serio y tradicional.” In a recent interview with my mother, she explained how her father did not let her obtain a higher education because she was a woman and he believed women were just going to work in the house. This was one of many “rules” that her father created, and my mother began to transmit the same mindset. Our class continues to emphasize that we need to abandon these rules and liberate women. These mindsets can be similar to being chained up to a ball.
In a discussion during The Coming of the Night, a classmate mentioned we needed a new feminism that includes men to break gender norms. I believe this is true, although there is nothing stopping men from being feminists right now too. Moving forward, Anzaldua says it perfectly, “We need a new masculinity and the new man needs a movement” (84). While I identify as a heterosexual male, I also like to express my flamboyance through fashion and style. I recall my middle school years and many people would think I was gay and call me “fruity,” which made me insecure. Today, I feel confident expressing myself in whatever manner I like, whether it is “fem” or not. Our class echoes the fact that men could and should do chores, errands, or most importantly, be a parent, just like women.
How does Queer Aztlan: re-Formation of Chicano Tribe by Cherrie Moraga contribute to the discourse of the class? Cite two examples. What is the debt Moraga states is owed to lesbians? [one paragraph]
ReplyDeleteCherrie Moraga’s book, Queer Aztlán: re-Formation of Chicano Tribe, contributes to the class by acknowledging the positive outcomes of the Chicano Movement, but also who should be held accountable for the negative outcomes. Moraga recognizes the Chicano Movement brought out “cultural, economic, and political programs” so the Chicano community can independently improve (226). However, she also points out that the Chicano Movement’s “institutionalized heterosexism [and] its inbred machismo…” (226). Quite similar to Anzaldua’s quote from above, the movement was producing rules that put women inferior to men. According to Moraga, the debt that is owed to lesbians are the contributions that they have given to the gay community. She believes gay men should be involved in female movements so both can be truly liberated and finally achieve “‘queer’ Aztlán” (235).
I asked you to write down your reaction to the documentary United in Anger: A History of ACT UP. What was that reaction? What did you know, if anything, about the HIV/AIDS movement? What are two scenes or people who stood out to you? How does Gay Sex in the 70s complement United in Anger? [one paragraph]
ReplyDeleteWatching United in Anger: A History of ACT UP, I was surprised women did not receive medical attention because the CDC failed to properly define AIDS. The whole scene of ACT UP’s campaign so the CDC can redefine AIDS (58:30) stood out to me because I thought men were the only victims in those years. Moving on, I questioned if ACT UP targeted the appropriate people or in an appropriate manner. For instance, they protested against the church when the church does not have power over the medical field. Additionally, did ACT UP ever wonder if medical experts also scrabbled for answers when AIDS reaped hundreds of people? Perhaps the people we usually turn to safety and answers for were just as confused as everyone else. Prior to these films, I just knew of the “AIDS” movement, but not of actual organizations like ACT UP. Greg Ross stood out to me because he said, “To scatter my own ashes. I’m going to die of AIDS in about two years and that is why I’m here” (1:17:17). Ross goes on to list the characteristics of ACT UP but does not realize he also described himself; courageous, strong, comitted, lovable, and compassionate. All of these qualities speak through him being present regardless of having HIV/AIDS. Gay Sex in the 70s complements United in Anger by demonstrating the gay community’s friendly side, not only as disruptive. United in Anger depicts the “radicals” and “nuisances” of society because of their dedication to combat AIDS. While Gay Sex in the 70s captures the gay community enjoying each other’s company and living in a peaceful world.
Why do you think I am stressing the popular culture of the era (1970s to early 1990s), the music in particular? [2 or 3 sentences]
ReplyDeleteBesides the fact Omar grew up during this time enjoying the culture, he stresses the popular culture of the era (1970s to early 1990s), the music in particular, because music was used like a megaphone for people across the world to express themselves and later uniting these same people when it was needed. There were many struggles and achievements that occurred during this time for Omar not to focus on.
What is your reaction to the film All About My Mother? The film references a possible cure to AIDS through the third Esteban (Jesus Christ)...is this a sign of hope or irresponsible film making?
I admire the comedy in All About My Mother because the plot revolves around a taboo topic like AIDS. Although the interpretation of the third Esteban (Jesus Christ) being a sign of hope is an optimistic perspective to end the movie, it is simply just that, an optimistic ending. It was not an irresponsible film making decision because Esteban does not necessarily have to represent Jesus Christ. In a broader view, he can represent that one day there will be a cure for AIDS and not through a holy entity.
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ReplyDeleteCite two passages (one or two) sentences from chapter 2 and chapter 7 from Gloria Anzaldua’s Borderlands/La Frontera: The New Mestiza that you think relate to the class
ReplyDeleteIn Chapter Two, Gloria Anzaldua explores the sins women of color can commit: “For the lesbian of color, the ultimate rebellion she can make against her native culture is through her sexual behavior.” (19)For women of color, in particular Chicanx community, it is difficult to comply with all expectations within family, religion, culture, and society. A women that is lesbian goes against the norm of heterosexuality which is a base in a Mexican family, religion (Catholisism), culture, and society. It goes against Catholicism because women are expected to procreate. There is some hatred here toward women that oppose the hegemonic masculinity. Unfortunately, many that do this risk losing loved ones. This quote relates to the class because not only are Chicanx lesbian women go agaisnt their culture but also many people within the LGBTQ community of color. They all risk losing loved ones and facing challenges such as harassment for going against their native culture and “nature.”
In Chapter Seven, Anzaldua proposes an answer to the struggles of duality within genders and cultures in: “The work of mestiza consciousness is to break down the subject-object duality that keeps her a prisoner and to show in the flesh and though the images in her work how duality is transcended. The answer to the problem between the white race and the colored, between males and females, lies in healing the split that originates in the foundation of our lives, our culture, our languages, our thoughts.” (80) This stood out to me because she challenges her readers and the ignorant to embrace duality. By ignorant, I refer to those who have hatred against individuals that identify with the LGBTQ community. Their hatred clouds their judgement and does not allow them to see lesbians or trans of color as equals. These are borders that we as humans create and only by “uprooting of dualistic thinking in the individual and collective consciousness is the beginning of a long struggle, but one that could, our best hopes, bring us to the end of rape, of violence, of war.” (80) says Anzaldua. This relates to the class because the queer community are affected by this border and constant war. By removing borders in lives, cultures, and thoughts can help bring together.
How does Queer Aztlan: re-Formation of Chicano Tribe by Cherrie Moraga contribute to the discourse of the class? Cite two examples. What is the debt Moraga states is owed to lesbians?
ReplyDeleteCherrie Moraga in Queer Aztlan: re-Formation of Chicano Tribe contributes to the discourse of the class because she share her story of how she accepted her identity. Many can relate to her because like her many take their time to “come out of the closet” and realizing the risks that come with it: “Coming to terms with that fact meant the radical restructuring of everything I thought I held sacred. It meant acting on my woman centered desire and against anything that stood in its way, including my Church, my family, and my “country.”” (225) In class we’ve covered stories of many queer children who have lost family and even at their death, due to Aids, have to take that journey alone. In addition, she educates her readers with the up-bring of the history of Chicano Movement. The meaning of Aztlan and the rise of both machismo and misogyny that oppressed all that is feminine. Leaving them and queer community on the sidelines. “When “El Plan Espiritual de Aztlan” was conceived a generation ago, lesbians and gay men were not envisioned as members of the “house”; we were not recognized as the sister planting the seeds, the brother gathering the crops. We were not counted as members of the “bronze continent”.” (232) She bring awareness to both lesbians and gays in the chicanx movement. She emphasizes on Chicana feminists lesbians because they faced the most difficult conversations and injustice. Their intersectionality as women of color and queer placed them at the bottom.
I asked you to write down your reaction to the documentary United in Anger: A History of ACT UP. What was that reaction? What did you know, if anything, about HIV/AIDS movement? What are two scnes or people who stood out to you? How does Gay Sex in the 70s complement United in Anger?
ReplyDeleteI was in aww when I watched this film. Before taking this course, I knew nothing about HIV/AIDs movement and queer community. I was unaware of the injustices and struggles. This film introduced the different institutions of power that stood idle of the epidemic. It helped me understand the importance of this movement. The actors did a great job in stressing their belief for their rights of life. That they are not outcast of people as well. The scene where they entered an office and through blood at the walls and tables. They chanted, carried posters, and finally showed no struggle by throwing themselves at the floor. Another scene that stood out to me was the very end when they threw the ashes at the food during a convention. It was impactful action with no words needed but also because the loved ones let go of what was left of him. Watching Gay sex in the 70s helped me understand the culture of the movement. It explores the epidemic of AIDs and a escape goat as well for the gay community and those that are positive. A way to come together in the scenes and the music to call for change.
Why do you think I am stressing the popular culture of the era (1970s to early 1990s), the music in particular?
Music is an escape goat for many. A place where people can come together as one to dance, sing, and enjoy the moment. In there era, music took a turn by becoming more inclusive of the queer community. Bringing awareness to AIDs epidemic and gay community. Where many felt isolated they found acceptance.
What is your reaction to the film All About My Mother? The film references a possible cure to AIDs through the third Esteban (jesus Christ) is this a sign of hope or irresponsible film making?
This was a great film and enjoyed it very much. Almodovar in the plot tells a sad story as well as mirroring the lives of trans people and those living with HIV/AIDs. It is a complex film with effective messages. It pulls us into the world we normally would not know anything about. It shows the strong bonds that can form among women. The mother loses her son which forces her to look for the father of Estaban, a trans women. Shows realism of human actions and need for human connections. Relationships of friendship and making new ones. This is an intense drama and adding some comedy makes this great. The third Esteban is a call to action the “cure” to HIV/AIDs. Both main characters continued fighting despite the many struggles they face. They give hope to the larger community of queer and of people with AIDs.
How does Queer Aztlan: re-Formation of Chicano Tribe by Cherrie Moraga contribute to the discourse of the class? Cite two examples. What is the debt Moraga states is owed to lesbians? [one paragraph]
ReplyDeleteCherrie Moraga contributes to the discourse of this class because she gives background to why the Chicano Movement has long ignored the agency of their queer brothers and sisters. She states that heterosexism and machismo was well alive in the Chicano Movement and because she was a lesbian Chicana, she defied Chicano Nationalism’s foundation. Moraga calls for a nationalism that “decolonizes the brown and female body” (Moraga, 227). This statement essentially lays out the foundation for the class because we have been dissecting the nuances of why queer, brown folks have been overlooked within the Chicano Movement, Chicano Department, and in history. Lastly, Moraga states that the Chicano Movement and Gay Movement owe debt to lesbians because the have contributed much effort and solidarity with them even though oftentimes they were ostracized.
I asked you to write down your reaction to the documentary United in Anger: A History of ACT UP. What was that reaction? What did you know, if anything, about the HIV/AIDS movement? What are two scenes or people who stood out to you? How does Gay Sex in the 70s complement United in Anger? [one paragraph]
ReplyDeleteI was surprised by the fact that we do not get told about the AIDs epidemic and how it affected brown folks. I also like that the documentary was shot from the perspective of the protesters and not from some historian because often times documentaries tend to look over some of the events. However, the people who were on the front lines will detail the hardships they faced as a movement. I knew about ACT UP and how it primarily affected gay men; however, I did not know that many lesbians and former drug users contributed to the fight to get medicine tested as quickly as possible. From my former knowledge on the movement, I was given the impression that it was mostly men on the lines. The two scenes that stood out to me was when the protesters interrupted the Catholic Church in New York because one of their religious leaders stated the sinfulness of using condoms. Although there were some people turned off by there tactics, I think the use of guerilla tactics were called for especially since a person with AIDs was dying every few minutes. I also found it shocking one some of the members who had passed wanted their ashes thrown at the capital. It was shocking to see the lack of agency from the government when there was literally a group being targeted with an epidemic. I think Gay Sex in the 70s compliments United in Anger: A History of ACT UP because it lays the backdrops as to what led the AIDS epidemic to spread like wildfire. Furthermore, it also builds on this notion that members of this community were there for each other and was the reason why so many of them stood in solidarity with each other.
Why do you think I am stressing the popular culture of the era (1970s to early 1990s), the music in particular? [2 or 3 sentences]
ReplyDeleteI think there is a stress on the pop culture because that era was distinct by the fact that many people were exploring and expressing their sexuality. We especially see this in Madonna's music as she made pretty erotic music that was well-received by the gay community.
What is your reaction to the film All About My Mother? The film references a possible cure to AIDS through the third Esteban (Jesus Christ)...is this a sign of hope or irresponsible film making?
ReplyDeleteI really enjoyed All About My Mother because it was simply a very unique movie. It was tragic but also comedic. I enjoyed every character in that movie because the characters are so well-developed and distinct. It is not your typical superhero movie and touches upon touchy subjects such as AIDs with caution and nuance that many films in the United States don’t. I think the ending with baby Esteban having a possible cure was simply to have a happy-ending. At the end of the day it was a film and I do believe one day there will be a cure for AIDs. However, I would also like to acknowledge that if I were someone with HIV/AIDs this wishful thinking would upset me because there are people who die from this disease and in a sense the film-maker may be viewed as irresponsible.
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ReplyDeleteThis comment has been removed by the author.
ReplyDeleteCite two passages (one or two sentences) from chapter 2 and chapter 7 from Gloria Anzaldua's Borderlands/La Frontera: The New Mestiza that you think relate to the class. [One paragraph per chapter]
ReplyDelete“Culture is made by those in power --men. Males make the rules and laws; women transmit them. How many times have I heard mothers and mothers-in-law tell their sons to beat their wives for not obeying them, for being hociconas, for being callejeras, for expecting their husbands to help with the rearing of children and the housework, for wanting to be something other than housewives?” (16)
In the above excerpt, Anzaldua really dives into how Latinx culture is heavily patriarchal. Women are expected to be passive and submissive housewives who must obey the men. Hence indicating that men must be active and dominant individuals who make the rules and enforce them (particularly over women and children). However, when placed into conversation with the themes that have been discussed in class, gay/queer men are seen as inferior because they are believed to have ‘given up’ their masculinity --the only characteristic that men of color are deemed to have that is ‘powerful.’ However, I believe that it is mportant to note that gay/queer men can still be masculine. In fact, gay/queer men often times use their gender to further inferiorize lesbian/queer women. Which ultimately ends up being counterproductive to the QPOC community.
“I am visible --see this Indian face --yet I am invisible. I both blind them with my beak nose and am their blind spot. But I exist, we exist. They’d like to think I have melted in the pot. But I haven’t, we haven’t.” (86)
In the above excerpt Anzaldua speaks to the homogenization that has been occurring within our society as it pertains to communities of color. We have been forced to leave behind the uniqueness and beauty of our culture in order to become one with the Eurocentric society. However, our communities have resisted and have fought to maintain our cultures alive. I believe the same can and needs to be applied to the LGBT and QPOC communities. As discussed in lecture, the heteropatriarchal norm that our cultures run on are similarly trying to get rid of those of us who are queer. Yet, this is what sets us apart from our brothers and sisters. This is what makes us beautiful in addition to our culture.
How does Queer Aztlan: re-Formation of Chicano Tribe by Cherrie Moraga contribute to the discourse of the class? Cite two examples. What is the debt Moraga states is owed to lesbians? [one paragraph]
ReplyDeleteThe overarching theme that encompasses Moraga’s article is, intersectionality. As discussed in lecture, to be discriminated against as a result of race is one thing, to be discriminated against as a result of gender is one thing, to be discriminated against as a result of race, gender and sexuality is a completely other thing. Hence, Moraga tries to bring in the intersectionality that makes up queer people of color and how they navigate the world. Moraga argues that although the Chicano Movement was a movement where she finally saw herself represented, she states that she still managed to get rejected as a result of her gender. Likewise, she got rejected from the Women’s Movement as a result of her race (225). Although the gay Chicano men were fighting the same strife as lesbian Chicanas, “the gay men still cling to what privileges they can” (233). This goes to show the patriarchal ideologies that are still present even among gay men.
This further explains why Moraga states that lesbians are the ones that have significantly contributed to the Chicanx Movement. Moraga acknowledges that Chicana feminists were the ones to have pointed out the injustices and sexism present among the Chicano Movement. Rather than buying into their own domination, Chicana feminists and lesbians were the ones to have raised the difficult questions that made the Chicano community progress --to an extent.
I asked you to write down your reaction to the documentary United in Anger: A History of ACT UP. What was that reaction? What did you know, if anything, about the HIV/AIDS movement? What are two scenes or people who stood out to you? How does Gay Sex in the 70s complement United in Anger? [one paragraph]
ReplyDeleteMy overall reaction to United in Anger: A History of ACT UP was “how/why did I not know about this????” One of the scenes that most stood out to me was the very first one, where it states “between 1981 and 1987 over 40,000 people died of AIDS in the United States.” Considering that thousands upon thousands of people passed away from AIDS makes me upset about how I was never taught any of this. I had to enroll in a class at UCLA in order to learn such an important part of history. The reality is that I had heard of HIV/AIDS but never truly understood what it was, how it came to be, or how it was transmitted. Let alone know that there was an entire movement. Additionally, what stood out to me was a lady named Ann Philbin. I was so surprised to see how supportive she was of the movement considering that she was a heterosexual female. I admired how willing she was to be part of the cause and stand for something bigger even if she was socially sanctioned. Nothing could be worse than seeing everyone around her die. Furthermore, Gay Sex in the 70s complements United in Anger in the sense that both films touch upon the epidemic and the consequences that it brought to the LGBT community and the ripple effect that it had on the rest of society.
Why do you think I am stressing the popular culture of the era (1970s to early 1990s), the music in particular? [2 or 3 sentences]
ReplyDeleteI believe that you are stressing the popular culture of 70s-90s because of how vital it was to LGBT community at the time. For the first time, the LGBT community was finally beginning to see itself reflected in broader culture and media. Especially within the music industry, individuals were creating art that would explicitly or implicitly represent those who have been marginalized. The popular culture during this era allowed those who were marginalized to run on the idea of hope.
What is your reaction to the film All About My Mother? The film references a possible cure to AIDS through the third Esteban (Jesus Christ)...is this a sign of hope or irresponsible film making?
ReplyDeleteI absolutely loved All About My Mother! Considering the serious and ‘taboo’ topics that it covered, it was done in such a humorous and witty way. I really enjoyed that Almodovar did not make these characters’ gender and sexuality the prime focus of the movie, but rather acknowledges their multidimensionality. Furthermore, I do believe that the references to a possible cure for AIDS through the third Esteban is definitely a sign of hope. There is hope that a cure could be found while simultaneously showing that something beautiful can be created out of something so daunting.
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ReplyDelete1. In Chapter Two of Borderlands/La Frontera: The New Mestiza, Anzaldúa shares about her experience as one of the few lesbianas on campus as an instructor, “The two lesbian students and we two lesbian instructors met with them to discuss their fears. One of the students said, ‘I thought homophobia meant fear of going home after a residency’”(20). This statement rang relevant to the course as it acknowledged the stark reality that being a part of the LGBTQIA+ community and living in your truth actually does carry a fear of home for many of us. Throughout the course and in many avenues, we explored the topic of rejection from homes as queer people. We witnessed this rejection in our analyzation of films, we read about it in novels, listened to its story in music, and felt it when we recalled our experienced or witnessed others in the classroom recall theirs. This lighthearted moment of misinterpretation Anzaldúa experienced actually gave word to the experience we can all identify, “And I thought, how apt. Fear of going home. And of not being taken in. We’re afraid of being abandoned by the mother, the culture, La Raza, for being unacceptable, faulty, damaged” (20). Another quote from the text that reminded me of the class’ discourse was when Anzaldúa states, “Culture is made by those in power--men. Males make the rules and laws; women transmit them. How many times have I heard mothers and mothers-in-law tell their sons to beat their wives for not obeying them, for being hociconas (big mouths)...” (16). This quote reminded me of all the times we discussed the violence inflicted of femme boys by their own families, often times their mothers working with her boyfriend or husband to assault her son. These were horrific examples of the ways women perpetuate misogyny and carry out those patriarchal rules and laws Anzaldúa refers to.
ReplyDeleteIn Chapter Seven of Borderlands/La Frontera: The New Mestiza, Anzaldúa writes, “Men, even more than women, are fettered to gender roles. Women at least have had the guts to break out of bondage. Only gay men have had the courage to expose themselves to the women inside them and to challenge the current masculinity. We need a new masculinity and the new man needs a movement” (84). This quote resonated with me personally as I’ve been pondering on what healthy masculinity looks like. I truly believe men and all of us need to abandon toxic masculinity, but I’m not entirely sure what healthy masculinity embodies. This quote resonated with the course for me as we constantly interrogated how masculinity carried out violent behavior onto so many of us and we acknowledged how gey men are not absolved of embodying these toxic traits as well. Lastly, reading Anzaldúa state, “Chicanos need to acknowledge the political and artistic contributions of their queer. People, listen to what your joteria is saying” (85), rang close to home for me. Witnessing who is revered in the communities I’m a part of is often overwhelmingly cis-hetero male Chicano artists and activists, when it’s been the queers who have not only done back-breaking, culture-shifting work but hen not credited or revered equally. I appreciated how the class was an open space for us to critique and interrogate why some of our Xicano brothers have been written out of history, how their queerness somehow made them less Xicano and they were forced to choose one or the other.
2.
ReplyDeleteCherrie Moraga’s Queer Aztlan: the Re-formation of Chicano Tribe touches on several themes relevant to the discourse of this course. First, one of her quotes reminded me of the constant conversation we were having of sexual assault within our families and how that if often times a secret unspoken. Moraga writes, “In the name of this ‘culturally correct’ familia, certain topics were censored both in cultural and political spheres as not ‘socially relevant’ to Chicanos and typically not sanctioned in the Mexican household. These issues included female sexuality generally and male homosexuality and lesbianism specifically, as well as incest and violence against women--all of which are still relevant between the sheets and within the walls of many Chicano families” (231). Reading this also reminded me of the stories the elder lesbianas in my life recount of when they were told their sexuality was to not be discussed in their spaces, referring to lesbian identity as a white attribute. Culturally, this also reminded me of the saying, ‘lo que se ve no se pregunta’, we’ve created a cultural code of secrecy to not discuss behavior considered ‘deviant’. Another quote from Moraga that stopped me and I had to sit with was when she said, “He would have lost a lot of validity...and opportunity. But how many lives are lost each time we cling to privileges that make other people’s lives more vulnerable?” (235). Reading this served as a reminder that when we choose to silence parts of ourselves that aren’t deemed acceptable by the dominant society, we participate in silencing folks who reflect those identities as well. Although I deeply believe in people coming out on their terms when they are ready, there is something to be said about how our commitment to living our authentic lives empowers others to do the same and shifts our narratives. I was reminded of this quote when reading Professor Omar Gonzalez’s Constructing an Ofrenda of My Memory: A Queer Poz Indio-Xicano Maps His Way Home. Gonzalez writes, “The time I spent sleeping in alleyways, on park benches, and in sleazy motels was living hell. However, I am proud that I did not retreat back into the closet…”.
3. Watching United in Anger: A History of ACT UP brought up many feelings more. Prior to this course, I carried little knowledge of the HIV/AIDS movement. I had a surface level understanding and only heard personal stories in recent years as I’ve built relationships with my queer elders and heard their stories. Aside from this, it’s only been Pose where I’ve been able to learn about what was happening in the ’80s and ’90s. I hella appreciated watching the film as it gave me a greater understanding not only of what was happening but how people were impacted and organized in masses to effect change. It’s heartbreaking to hear about the overwhelming amounts of losses people experienced, the lack of access to medication, and the government’s inherent homophobia in their pushback and lack of funding research as well as granting access to medication. One of the scenes that stood out to me was the action of civil disobedience at the steps of the FDA. This scene stood out for me as it showcased the masses of queer people that put their bodies on the line, quite literally, to get their demands met. I also appreciated learning of the way they took back their power by creating their own media. This seemed like such an important tactic to ensure that their movement is being documented, that their stories are being accurately told, and they can access information for them and by them. I felt seeing so many independent folks in their collectives making a habit of surveilling police and carrying cameras at all times is a tactic that we can learn from and employ today.
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ReplyDelete4. I believe that pop culture, especially music, has been heavily highlighted in this course for several reasons. Incorporating the music that was the soundtrack to the '70s, ’80s and ‘90s transport us to that time period. Some of the songs presented were also a way to introduce us to queer icons who’s music was vital to our communities. There were also many songs that carried political messaging and carried messages of queerness that served as a way to represent us.
ReplyDelete1. “I abhor some of my culture’s ways, how it cripples its women, como burras, our strengths used against us, lowly burras bearing humility with dignity. The ability to serve, claim the males, is our highest virtue.” (21, Chapter 2)
ReplyDeleteThis quote demonstrates how sexist and limiting Anzaldua’s culture can be towards women. Women are put in a box of either being a prostitute, nun, or mother while men are catered towards and favored. The frustration that Anzaldua experiences is related to this class. There is no room for her queerness, the way she sees it, in her Chicanx/Latinx household. It is something that is erased and shunned. Many communities are riddled with homophobia and enforced through violence. In mainstream Chicano culture, there is a lot of machismo and toxicity. Anzaldua is resisting this and creating a space that destroys these binaries. In this class we oppose these binaries that we have been conditioned to believe.
“It is not enough to stand on the opposite river bank, shouting questions, challenging patriarchal, white conventions...The counterstance refutes the dominant culture’s views and beliefs” (78, Chapter 7).
Similar to the quote on Chapter 2, Anzaldua is critiquing patriarchal conventions. In this quote she references to the patriarchal aspects of Chicano culture and states that opposing whiteness is not enough if the Chicanx/Latinx community is going to continue to enforce patriarchal, heteronormative, and sexist views of the dominant culture. A counterstance is necessary to dismantle the dominant view. This class is a space to resist the dominant culture and examine the problems within Chicanx households. For example, in class we discussed how there is often a test to see who is more Mexican or more Chicano. These markers do not address the problems within our community that reflect the dominant viewpoint. There are Latinx parents who kill their children for being gay and we must dismantle the homophobia and patriarchy within our community that is extremely toxic. These are structures that the dominant culture enforces and we must get rid of that.
2. Queer Aztlan: re-Formation of Chicano Tribe by Cherrie Moraga is important to this class as it demonstrates a truly inclusive Chicanx community that includes people of different sexualities and gender expressions, or as Moraga states includes “All its people, including its joteria” (225). It is also important because it states what is wrong about Chicano nationalism and structures that need to be dismantled to have a more powerful and inclusive movement. She states that “what was wrong about Chicano Nationalism was its institutionalized heterosexism, its inbred machismo, and its lack of a cohesive national political strategy.” (226) This is important because while homosexuality is not represented or seen as an embarrasment in certain Chicanx households, the real problem is the resistance towards queerness and lack of inclusivity. Homophobia and heterosexism are actual problems rather than the existence of lesbians and gays of color. These structures reinforce the dominant narrative in a movement that was created to resist the dominant culture. Moraga calls for an eradication of homophobia and machismo as those things are toxic to the community.
ReplyDelete3. The film was eye opening in terms of what ACT-UP is. I had heard about ACT-UP before through another queer literature class I took at UCLA. The film is eye opening because it showed the ways that ACT-UP spread awareness about HIV/AIDS, sexual health, and protesting the lack of response from the FDA and government. I appreciate the intersectional lens the film took and how they acknowledged the work that many lesbian activists did during the AIDS epidemic, I would have liked to see them interview more POC Activists involved with ACT-UP such as the latino caucus. I appreciate all the work that was done and information spread through ACT-UP. The film Gay Sex in the 70s complements United in Anger in that they chronologically show gay life, sex, pleasure, and resistance before and during the AIDS epidemic.
ReplyDelete4. Many of the music videos shown refer to queerness during the 70s to 90s, whether subtle or more explicit, such as the handkerchief in one of the videos. The videos also reflect issues affecting queer people that would often go ignored such as the AIDS epidemic.
ReplyDelete5. I enjoyed the film All About My Mother. I enjoyed the characters and Manuela’s relationship with her son Esteban and with Hermana Rosa. I thought that the addition of a third Esteban was important. I feel that it was a sign of hope for the film. The film deals with a lot of tragedy through the Esteban’s so a third Esteban that could represent a possible cure to AIDS is in a sense a form of escapism towards the harsh realities of the AIDS epidemic. It provides hope that there is a cure and that the virus can be stopped.
Cite two passages (one or two sentences) from chapter 2 and chapter 7 from Gloria Anzaldua's Borderlands/La Frontera: The New Mestiza that you think relate to the class.
ReplyDeleteA quote from Gloria Anzaldua’s Borderlands/ La Frontera: The New Mestiza that I love and relates to the class is, “Estas carnes indias que despreciamos nosotros los mexicanos así como despreciamos y condenamos a nuestra madre, Malinali. Nos condenamos a nosotros mismos. Esta raza vencida, enemigo cuerpo” (22). This relates to the homophobia that is prevalent among the Latino community because of the Catholic religion and their traditional/ conservative views; shutting out your family member because of their non-conforming sexual interests. This homophobic atmosphere in our community is a very unfortunate thing that strikes fear among the queer Latinx folks that are forced into the closet for fear that they will be shunned and rejected by the ones that they feel safe with and love the most. Not only that, but another layer of fear that exists in this marginalized community, specifically the gay community, is the uncertainty of their partner having HIV/AIDS and not being able to feel completely safe with them because of how common this transmission of the disease has become in the past couple of decades.
Furthermore, in Chapter 7 Moraga writes, “ We are ashamed that we need your good opinion, that we need your acceptance. We can no longer camouflage our needs, can no longer let defenses and fences sprout around us. We can longer withdraw. To rage and look upon you with contempt is to rage and be contemptuous of ourselves” (88). This quote is truly powerful because it touches on some of the most important discussions that we had throughout the quarter. One of the discussions that really struck me was on the way that we refer to the LGBTQ community. Where we make the mistake of saying that we “suspect” that someone was queer, but you suspect someone of committing a crime or the mistake of accepting someone for being queer because individuals should not seek approval from others because society shouldn’y have the power of accepting or denying someone for their identity. You accept an alcoholic or a drug addict but you shouldn't hold this same power of deciding whether your should accept or deny your loved one for expressing who they are.
How does Queer Aztlan: re-Formation of Chicano Tribe by Cherrie Moraga contribute to the discourse of the class? Cite two examples. What is the debt Moraga states is owed to lesbians?
ReplyDeleteAn important quote that I associate with Moraga’s name is, “In those twenty years, I experienced the racism of the Women’s Movement, the elitism of the Gay and Lesbian Movement, the homophohiba and sexism of the Chicano Movement, and the benign cultural imperialsm of the Latin American Solidarity Movement”( 225). Cherrie Moraga’s piece does a really good job at adressing the discrepencies of an array of things like Chicano rhetoric and heteronormative culture. Moraga addresses the flaws of the most recognized moments in Chicano history and expands on her ideas that a community who has been historically marginalized continues this marginalization within their own people. Furthermore, they cling on to their conservative opinions and as Moraga states, “The preservation of the Chicano familia became the Movimineto’s mandate and within the constricted ‘familia’ structure, Chicano politics ensured that the patriarchal father remained in charge both in the private and political lives”(231). She says that Chicano gay men cling on to their male privilege by not supporting women and holding this stigmatized version of what a woman’s purpose is: feeding, fighting, and fucking. The Chicano movement as a whole does not include the LGBTQ community in any of their activist claims or their politics which is why Moraga angrily mentions that many female and gay leaders were left out of the picture when the achievements of the Chicano Movement were openly announced, they remained hidden to preserve the Chicano’s and their extremely fragile masculinity. Moreover, Moraga also includes her opinions about the differences in privilege between the gay Chicano men and lesbian Chicano women. She says that “As much as I see a potential alliance with gay men in our shaped experience of homophobia, the majority of gay men still cling to what privileges they can” (233). Moraga also mentions how although both gay men and lesbian woman are marginalized within their own ethnicity, gay men still have the privilege of being a man in this society and use this part of their identity- often to their advantage even if it means having to hide their queerness so that they don’t feel as marginalized in certain spaces. Lastly, Moraga believes that the Chicano Movement owes the lesbians some type of recognition for being able to call them out on their flaws and in doing so, advance their political activism by being more inclusive towards communities within the Chicano community that have gone unnoticed throughout the entire Movimiento.
I asked you to write down your reaction to the documentary United in Anger: A History of ACT UP. What was that reaction? What did you know, if anything, about the HIV/AIDS movement? What are two scenes or people who stood out to you? How does Gay Sex in the 70s complement United in Anger?
ReplyDeleteAfter watching the documentary United in Anger: A History of ACT UP, I was conflicted with my emotions because I admired the activists for their immense work and dedication to the AIDS fight but at the same time I could not help but feel extreme anger for the government, corporations, and medicinal businesses for not putting in the slightest bit of effort en lo que les corresponde. Prior to this class, I will admit that I did not know much about the HIV/AIDS movement. Up until first year of college, I still did not have a clear idea of what HIV or AIDS was, other than the fact that you can transmit them through sexual relations if a person tests positive for this disease. I knew that back in the day(around the time that my dad was born- late 1960’s) many individuals were dying from this infection because no one had found a cure or reliable treatment, and that most of the individuals who were passing away because of HIV and AIDS were gay men. My understanding of the HIV/AIDS movement was very minimal so I was very excited to take this class because it would allow me to broaden my understanding my knowledge of what this era was for people and because it is such a specific topic, I knew that the knowledge that I would be gaining would be much more than just the gist of the movement and important figures. The two films: Gay Sex in the 70’s and United in Anger complement each other in such a way that the first film really focuses on showing the erotic atmosphere and sexually lliberating behavior that was very much present in New York in the 70’s. The film really captures the inside scoop of how most gay men in New York lived their day to day life: lots of sex, anywhere and at anytime. This is important because this film takes the personal life and, when combined with conflict and more severe moments that had to be endured by LGBTQ community pertaining to the AIDS/HIV controversy, they are able to paint a picture of how the only place that they felt safe is if they were with one another and how, outside of their own spaces that they created, they were vulnerable to society and their hompohpobic perspectives and actions.
Why do you think I am stressing the popular culture of the era (1970s to early 1990s), the music in particular?
ReplyDeleteMost of the music that we listened to in class were written by individuals of color and all of them were part of the LGBTQ community. I feel that you are stressing the popular culture of the 1970-1990’s era for two reasons. The first is to stray away from the cultural norm of heternormative music in the mass media and in doing that, shining light on very talented artists with enormous potential of LGBTQ folks that have previously been ignored or deemed not worthy of excellence just because of their identity. The second is to appreciate the lyrics of these songs as they express the deep feelings that have been contained within this marginalized community and combined with the beauty that is music, these folks now have an outlet; to demonstrate their talent and let out their voices that have been kept away from society for so long.
What is your reaction to the film All About My Mother? The film references a possible cure to AIDS through the third Esteban (Jesus Christ)...is this a sign of hope or irresponsible filmmaking?
ReplyDeleteI really enjoyed watching the plot unravel in the film, All About My Mother. I absolutely loved the way that Agrado’s character was portrayed because she is so fierce and fearless in everything she does; she doesn't feel the need to hide who she is. Though she was not the focus of the central points that the director meant to portray, I thought her courageous character is something that defintely deserves mentioning because given the time that this movie was written, many people were still close minded and extremely judgemental of queer folks. On that note, I also want to add how it is through Manuela that we are able to see the different aspects of queer culture during this time. The people that Manuela surrounds herself with each have their own hardships in the obstacles that society puts on those who are queer. It is through Manuela that we are able to see the LGBTQ individuals in the film establish their character and how their voices provide unique perspectives in the film and they all overlap to contribute to one of the central themes being that the love in a family, no matter how complex and “odd” seeming the family members may be, is trustworthy, unquestionable, and unconditional.
I believe that the referencing of a possible cure to AIDS through the third Esteban(Jesus Christ) is considered a sign of hope and not so much irresponsible filmmaking because much like in the film Bear Cub, Bernardo is the product of a parent who had HIV and is still very much alive. Though the risks are high, I don’t think that by having little Esteban come out in the film means that the film is giving individuals too much to cling onto.
Cite two passages (one or two sentences) from chapter 2 and chapter 7 from Gloria Anzaldua's Borderlands/La Frontera: The New Mestiza that you think relate to the class.
ReplyDeleteIn Chapter 2, Anzaldua writes, ”The culture expects women to show greater acceptance of, and commitment to, the value system than men" (16). I believe this relates to our discussions of the traditional Mexican family and the constraints it places on females. They are expected to be nurturers, wives, and the value system that surrounds them leave little room for anything else. Moreover, these constraints don’t just extend to roles, they also cover mentality, their appearance, and their bodies. This value system, in practice, add evens more insult to injury when you take into account that it could not be a women who would be given the ability or even be able to garner the support to change that value system.
in Chapter 7 Anzaldua writes, “Only gay men have had the courage to expose themselves to the women inside them and to challenge the current masculinity” (84). This quote pinpoints a crucial flaw in latino culture and how it delegitimizes half of its population. Feminism doesn’t need to equate to homosexuality in Latino culture, but as more and more men begin begin to accept themselves and their humanity, then it does start to chip away from the clasps that have been placed on gender roles and the oppression feminism faces in Latino culture. So that the day where toxic masculinity.
How does Queer Aztlan: re-Formation of Chicano Tribe by Cherrie Moraga contribute to the discourse of the class? Cite two examples. What is the debt Moraga states is owed to lesbians? [one paragraph]
ReplyDeleteMoraga writes, “When ‘El Plan Espiritual de Aztlan’ was conceived a generation ago, both gays and lesbians were not considered as members of the bronze continent” (232). It is this kind exclusion that the discourse of the class has touched upon, the spiritual plan is just a cover, the actual ‘plan’ refers to the reformation of the culture. Through our course we have discussed, abuse, AIDS, battering, and marginalization and how those that the “plan” left behind have been its biggest victims, victims who are the brothers and sisters of those who originally conceived it. Moraga also wrote, “Chicano gay men have been reluctant to recognize and acknowledge that their freedom is intricately connected to the freedom of women” (234). In making statements like that, it shines light on the fact that any sort of feminism in Latino culture has been marginalized, no matter where it comes from, and that they cannot be open about their sexuality and the true nature of themselves unless they release their privileges they cling onto as men. In Moraga’s eyes, lesbians have been owed the support from gay men that they have given to the gay community.
I asked you to write down your reaction to the documentary United in Anger: A History of ACT UP. What was that reaction? What did you know, if anything, about the HIV/AIDS movement? What are two scenes or people who stood out to you? How does Gay Sex in the 70s complement United in Anger? [one paragraph]
ReplyDeleteMy reaction was that I was shocked, the fact that legislation was so prolonged in order to save the lives of citizens here in this country, especially when it even included white males in white collar positions. But it serves as a reminder of the stigma and blind hate towards homosexuality that was once carpeted the entire nation. My knowledge of aids prior to this course was limited, it was made up of farfetched theories that it was an act of malice carefully orchestrated by the U.S., that perhaps it was the result of the free love movement, and that Magic Johnson being diagnosed with AIDs was the event that tipped the scales to set off the movement. The first scene that immediately stood out to me was the protestors laying on the Church floor during a session, as someone who believes there’s weight to the idea that religion has contributed to the evil in society it sought to purge I thought that was a very powerful moment. Gay Sex in the 70s complements this film because they both showcase the unity in gay culture in the face of a stark reality. They both showcase the side that hoped for a brighter future.
Why do you think I am stressing the popular culture of the era (1970s to early 1990s), the music in particular? [2 or 3 sentences]
ReplyDeleteI think it’s because music and other forms of art, can represent the climate of thought that surrounded the communities that it originated from. Some music even included motifs and notions that only people who were in those communities would recognize, and in its simplest interpretation it at least would signify that they were not alone.
What is your reaction to the film All About My Mother? The film references a possible cure to AIDS through the third Esteban (Jesus Christ)...is this a sign of hope or irresponsible film making?
I really enjoyed this film, I don’t watch movies enough anymore to call myself a film nerd like I was back in my first two years of college but I still follow the careers of many directors very closely. I really enjoyed the tone of the film and the witty moments that were inserted to relieve the dark subject matter and the weight of the reality the characters were facing. The director dedicated it to "To all actresses who have played actresses. To all women who act. To men who act and become women. To all the people who want to be mothers. To my mother,” and I thought it did not simply rely on the complex issues it featured to showcase human emotion and the effect it has on people lives. Because in between all of it there was the idea of love and human compassion that I thought really elevated it.
As far as the reference to a possible cure, I thought it was a sign of hope. Because it could have easily dismissed the lives of those that were succumbing to the disease as patients in a hospital that were forced to abandoned their lives, but instead it showed them as humans who continue to live in spite of the disease that they carry. And the hope lies in that it shows people who are truly still alive, and that one day these people will have their lives continue.
1. Cite two passages (one or two sentences) from chapter 2 and chapter 7 from Gloria Anzaldua's Borderlands/La Frontera: The New Mestiza that you think relate to the class. [One paragraph per chapter]
ReplyDelete“There is something compelling about being both male and female, about having an entry into both worlds. Contrary to some psychiatric tenets, half and half’s are not suffering from a confusion of sexual identity, or even from a confusion of gender. What we are suffering from is an absolute despot duality that says we are able to. Be only one or the other” (19).
“Though we ‘understand’ the root causes of male hatred and fear, and the subsequent wounding of women, we do not excuse, we do not condone, and we will no longer put up with it”. (83)
In the first of these passage it speaks of self-identity and what comes along with that self-identity within society. This is what the first passage speaks about which is gender and how that process is perceived by the outside world and within the individual that is addressing these questions about themselves both sexually and identity wise. Something that this class definitely addresses when we went over the many questions that were raised.
The second passage speaks to deconstructing male hatred and violence. Something that I also feel was addressed and brought up throughout the quarter in class. We look to find a solution to the male hypersexual normative and we looked to deconstruct certain social norms in class as well. When we would discuss issues that were faced by certain populations just for expressing themselves within the public eye.
2. How does Queer Aztlan: re-Formation of Chicano Tribe by Cherrie Moraga contribute to the discourse of the class? Cite two examples. What is the debt Moraga states is owed to lesbians? [one paragraph]
ReplyDelete“They will come to see that they are not helping is but following our lead” (85).
“The dominant white culture is killing us slowly with its ignorance. By taking away our self-determination, it has made us weak and empty” (86).
It contributes to the discourse of the class because it allows us to unapologetically approach topics within class without constantly thinking about the dominate culture that controls what we talk about and it challenges the discourse we would normally be speaking about within an educational institutional setting. She gives a voice to challenge the dominate narrative that we live in every day. Thus, allowing us as the student to have real conversations that become actual change within society. She continually express that the advancement of the Chicano/a people is due to the work contributed by gay men and lesbian women. That these groups should be acknowledged for the work that they put in to the advancement of the people as a whole.
3. I asked you to write down your reaction to the documentary United in Anger: A History of ACT UP. What was that reaction? What did you know, if anything, about the HIV/AIDS movement? What are two scenes or people who stood out to you? How does Gay Sex in the 70s complement United in Anger? [one paragraph]
ReplyDeleteMy reaction to this documentary was one of both amazement and sadness. The fact that at one time and also even now that a stigma is put on to HIV/AIDS in this country is incredibly sad. Also, the fact that so many people openly were against helping those that really needed their assistance in stopping the epidemic and were advocating for people to be marked if they contracted the virus is heartbreaking. However, it was powerful to see a group of people come together to fight this oppressive narrative that was attached to those that were a part of this community of people that had contracted HIV and were looking to create a voice to help stop the epidemic from furthering and help those that had already been effected. I didn’t personally know anything about the movement before this class. The scene that really stood out me is when the protestors were holding grave signs about their heads on the ground in protest of the FDA. The second scene that stood out to me was when the man was being interviewed and he said that “The Drug companies are profiteering on our lives”, this was something that really stuck out me. Gay Sex in the 70’s connects to this documentary because it talks of the age that leads up to the epidemic and speaks to the freedom that was felt before the oppression of the 80’s arrived during the Reagan Era and Neoliberalism.
4. Why do you think I am stressing the popular culture of the era (1970s to early 1990s), the music in particular? [2 or 3 sentences]
ReplyDeleteI think you are doing this because you want to describe what was happening leading up to the epidemic which was the 70’s. What was happening during the time of the epidemic occurring which was during the Reagan era of the 80’s. Thus, leading to the 1990’s which is what can be described as being the end of epidemic. Discussing these time periods gives more context what was occurring in the evolution within these communities being affected by the epidemic through time stamps in culture. Within music, the scene and what was occurring in history both politically and socially. Also, these areas are all historical markers within the LGBTQ community.
5. What is your reaction to the film All About My Mother? The film references a possible cure to AIDS through the third Esteban (Jesus Christ)...is this a sign of hope or irresponsible film making?
ReplyDeleteI enjoyed watching this film quite a bit. Seeing certain character development such as Agrado’s mother because of the passion and the level confidence she displayed in being apologetic in her pure nature. Also, I enjoyed how the film broke the social norms by addressing certain subjects/topics. I felt that the third Esteban really created a form of hope. This is because in a way it gives hope that something great can be transformed and created out of something so negative.
1. Cite two passages (one or two sentences) from chapter 2 and chapter 7 from Gloria Anzaldua's Borderlands/La Frontera: The New Mestiza that you think relate to the class. [One paragraph per chapter]
ReplyDeleteChapter 2
“Woman is the stranger, his Shadow-beast. The sight of her sends him into a frenzy of anger and fear.”
Throughout this class on queer literature, we were faced with several characters who struggled with their sexuality. Men coming to terms with their gay identity not only have to accept the fact that they deviate from the heterosexuality, but they must also learn how to navigate a patriarchal world that is in allegiance with their gender but against their sexuality. To learn how to dissolve a person’s masculinity, and then embrace a femininity of empathy and nurturing, means to turn your back on a part of yourself that you assumed to be indisputable and to then embrace a way of being that you assume to be contrary to your existence. To embrace the shawdow-beast – to embrace femininity -- means to embrace a way of being that may initially cause discomfort. In my experience, men in my life who saw other men embrace an unordinary amount of femininity often responded with anger and disgust. The fear of the other unfortunately constrains the male imagination to a particular way of existing.
Chapter7
“ …before the Chicano can have unity with Native Americans and other groups, we need to know the history of their struggle and they need to know ours.”
Meaningful solidarity between disadvantaged groups requires a solidarity that is historically and contextually informed. There would be no point in attempting to understand the struggles of others if the historical mechanisms responsible for their subjection go unacknowledged. That is, how is it that queer folks live in a particular present that causes them so much harm? By attempting to understanding the emergence of these issues throughout history, folks can understand the root of issues. In this class, there is an emphasis on queer history; an emphasis on connecting with the culture of queer folks. I feel that this emphasis comes from the fact that true solidarity cannot be built without being able to connect with the culture of interest.
Michael Gomez
Delete2. How does Queer Aztlan: re-Formation of Chicano Tribe by Cherrie Moraga contribute to the discourse of the class? Cite two examples. What is the debt Moraga states is owed to lesbians? [one paragraph]
ReplyDeleteMoraga’s article contributes to class discourse by underscoring how solidarity between disadvantaged groups requires a a recognition of how our consciousness is plagued by dangerous ideologies that are disadvantageous to the liberation of the disadvantaged. Moraga uses her own life to illustrate how a person with multiple disadvantaged identities often are unable to find spaces in which they feel that they feel fully accepted (225). This pain that Moraga feels years for a reflected by her wish to create a community of folks where “there would be no freaks, no ‘others,’ to point one’s finger at” (235). Moraga’s pain compels her to demand for recognition and appreciation for the lesbian women who have had to overcome barriers – that have been fortified by both sexism and homophobia – to gain access to positions of power that will allow them to transform the Chicano movement for the better. The construction of such a society would require everyone to engage in introspective thinking to mend the ill-informed ideas in our psyche. In the same way that we saw the characters of Coming of the Night struggle with accepting homosexuality despite the fact that they themselves are queer. The road to an equitable society is obstructed by all of us; the path is cleared when we begin to see the mechanisms of destruction that we have unknowingly placed
Michael Gomez
DeleteMichael Gomez
ReplyDelete3. Why do you think I am stressing the popular culture of the era (1970s to early 1990s), the music in particular?
In the beginning of the term, I remember you making a comment about current queer youth having an ahistorical understanding of their identity. To me, the content of the course seemed to be used to root its students in their own history. The lives of the queer community during the 70s-90s was made notable by the civil rights work that was done alongside an epidemic that was responsible for the deaths of many of its members. This fast-moving, but short-lived, moment in queer history is responsible for many legal changes and cultural changes that exist in the queer community. For me, queer history has always been a subject that I was too ashamed to learn of. Because I was raised to hate myself, I would avoid opportunities to understand my history. However, learning of my own history has helped to dissolve my shame and has helped to spark an appreciation for the revolutionary fervor that my people carry. This fervor not only inspires queers to fight for legal change, but it also creates a culture of resistance that is expressed with music. Gender-variant folks would preform songs that spoke of celebration and love. These songs create a sense of pride in folks who were born into a world that has shamed them for their existence.
Michael Gomez
ReplyDelete4. I asked you to write down your reaction to the documentary United in Anger: A History of ACT UP. What was that reaction? What did you know, if anything, about the HIV/AIDS movement? What are two scenes or people who stood out to you? How does Gay Sex in the 70s complement United in Anger? [one paragraph]
United in Anger provided its viewers with an account of queer history that was situated in a time where the AIDS/HIV crisis was not recognized as a legitimate crisis because of the lack of respect folks had for the queer community. Peaceful protest is often celebrated and considered the ideal form of resistance, but what should the neglected do when they are not taken care of even in moments of crisis? There is no time for consciousness-raising; there is no time for dialogue. What is needed is medicine and attention. I admired the activists for seeing beyond idealized forms of protest to effectively complete their objectives. One scene that stood out to me was when the protestors interrupted mass to get the attention of their community. One person asked why it wasn’t possible for the protestors to wait until after mass; I remember thinking “but do they even have time to wait for the attention that they need?” Another moment that I remembered was when a protester stated that the FDA has had HIV/AIDS medicine that has gone months without being tested. This added to the need for more militant efforts of resistance. The HIV/AIDS crisis takes place about a decade after the stonewall riots. Gay Sex in the 70s shows the budding of queer activism, and United in Anger is queer activism blossoming.
Michael Gomez
ReplyDelete5. What is your reaction to the film All About My Mother? The film references a possible cure to AIDS through the third Esteban (Jesus Christ)...is this a sign of hope or irresponsible film making?
I was surprised to see that the queer characters of the film had people outside their own community that were accepting of them. For me, it’s hard to imagine growing up in a Latinx community during the 90s with people who are so nonchalant with queer folks. However, it was nice to see the possibility of accepting nonqueer folks. I feel that Manuela’s son’s disappearance of AIDS seems to be an inaccurate depiction of what it means to survive through HIV/AIDS. While this may not be a dangerous depiction of AIDS, it seems to be lazy film making at its best.
“The queer are the mirror reflecting the heterosexual tribe’s fear: being different, being other and therefore lesser, therefore sub-human, in-human, non-human” (Anzaldúa, 2012, p. 40).
ReplyDeleteAnzaldua discusses transgressions that women are culpable for when they deviate from their role as a nun or mother. The queer women, commits the greatest transgression of all, because she deviates from heterosexuality and purity. However, it is not only queer women who transgress against these heterosexual norms, queer men are also culpable, and both are rejected. In relation to this course, queer people of color, more specifically gay men of color in the United States are guilty of transgression against whiteness and heterosexuality. Anzaldua notes because of their transgressions, these individuals are easier to cast as sub-human, which is important in understanding the U.S.’s unwillingness to act during the HIV/AIDS epidemic, and as result, murdering hundreds of thousands of people.
“Like others having or living in more than one culture, we get multiple often opposing messages. The coming together of two self-consistent but habitually incompatible frames of reference causes un choque, a cultural collision” (Anzaldúa, 2012, p. 100).
We all are a product of multiple cultures, and those cultures differ from each other. Queerness and Chicanidad are two identities that are often at odds with each other. Historically, queerness in the Chicana/o/x Movement was not accepted, and the LGBTQ+ movement of the 60s was predominantly white and binary. One identity should not be scarified to gain acceptance in community. For people of color, the process of acknowledging and accepting a queer identify creates a choque, because as shown in Chapter 2, queerness is one of the greatest transgressions a person can commit.
- Marilu Duran
I asked you to write down your reaction to the documentary United in Anger: A History of ACT UP. What was that reaction? What did you know, if anything, about the HIV/AIDS movement? What are two scenes or people who stood out to you? How does Gay Sex in the 70s complement United in Anger?
ReplyDeleteAll I wrote was “RAGE.” This was the second time I viewed ACT UP, the first time over the summer in your class. Before taking your service learning class over the summer, I had very limited knowledge about the HIV/AIDS movement. I knew there was an epidemic and that the Reagan administration stood idly by. However, even this limited knowledge undermines all the work that groups like ACT UP did to fight for their lives. One major scene that stood out to me was the ACT UP protest at the St. Patrick’s Cathedral. That event is important because it calls into question the argument against queerness based on the notion of immorality. Without the church dictating what is moral or immoral, what argument is left against queerness. This relates to ACT UP protesting Center for Disease Control’s (CDC) definition of AIDS that excluded women. As a country that is supposed to govern independent of church, the CDC failed at its job. Looking back at Gay Sex in the 70s now at the end of the quarter, and reading a section from Kramer’s Report from the holocaust, sex should be for pleasure, and it was for a while. HIV/AIDS disrupted that, and Kramer put it into perspective, when he wrote, “It is very difficult for me to make love, even “safely,” when the very act is now inextricably bound up with death” (p. 227).
Why do you think I am stressing the popular culture of the era (1970s to early 1990s), the music in particular?
The exercise we did the first class, put the time into perspective. The music helps set the decades that we looked at, because it was normal people living their life and enjoying their time, until all of that was disrupted by constant death.
What is your reaction to the film All About My Mother? The film references a possible cure to AIDS through the third Esteban (Jesus Christ)...is this a sign of hope or irresponsible film making?
I thoroughly enjoyed the film. It was very funny and the characters did not feel like props meant to push the plot, rather multidimensional individuals. The third Esteban should be a sign for hope. While there is no cure for HIV/AIDS, there have been medical advancements that no longer make a positive diagnosis a death sentence. Though it may sound naïve, one day there will probably be a cure, because science is a constantly evolving field.
How does Queer Aztlan: re-Formation of Chicano Tribe by Cherrie Moraga contribute to the discourse of the class? Cite two examples. What is the debt Moraga states is owed to lesbians?
ReplyDeleteMoraga argues for the need of a Queer Aztlán, “a Chicano homeland that could embrace all its people, including its jotería” (p. 225). Moraga uses herself as an example for the need for Queer Aztlán because as a “Chicana, lesbian, half-breed, and poeta” she “experienced the racism of the Women’s Movement, the elitism of the Gay and Lesbian Movement, the homophobia and sexism of the Chicano Movement, and the benign cultural imperialism of the Latin American Solidarity Movement” (p. 224; p. 225). Moreover, she argues that the Chicano Movement fractured because of misogyny and “men have to give up their subscription to male superiority” (p. 233). Criticism of the movement and the progression of the movement, is due to lesbian writers like Moraga.
Cite two passages (one or two sentences) from chapter 2 and chapter 7 from Gloria
ReplyDeleteAnzaldua's Borderlands/La Frontera: The New Mestiza that you think relate to the class.
[One paragraph per chapter]
A passage from Chapter 2 of Borderland/La Frontera that I believe relates to the class is when
Anzaldua is describing her definition of homophobia and states how it is the “fear of going
home. And of not being taken in. We’re afraid of being abandoned by the mother, the culture, la
Raza, for being unacceptable, faulty, damaged. Most of us believe that if we reveal this
unacceptable aspect of the self our mother/culture/race will totally reject us” (20). In a class
about Queer Chicano literature, I feel like it can be obvious as to how this passage relates to the
class because as queer men, the idea of coming out as homosexual, or a different sexual identity,
comes with a wave of inner fear due to different possible ramifications. The concept of complete
rejection, be it from your own race, family, community, etc. is so powerful that it can stop us
from coming out entirely. On top of one’s sexual identity, having to come out as having
HIV/AIDS is a whole other journey that carries even more fears. I can’t imagine what must have
been going through Gil Cuadros’ mind having to come out as a gay Chicano to his family only to
further come out with having HIV/AIDS later in life.
A passage from Chapter 7 of Borderlands/La Frontera that I think relates to this class is when
Anzaldua is describing aspects of the mestiza consciousness and goes on to say that “as a mestiza
I have no country, my homeland cast me out; yet all countries are mine because I am every
woman’s sister or potential lover. (As a lesbian I have no race, my own people disclaim me; but I
am all races becuase there is the queer of me in all races.)” (80). Somewhat similar to the passage
I chose from Chapter 2, this regards to the identities of queer people of color and their relation to
the communities that they belong to. As Anzaldua describes her Chicana Lesbian identity, it can
be easy to see how this also applies to the lives of queer Chicano men as well, how as queer men,
they cannot fully belong to the Chicano community/to their own race, yet theyre still apart of all
races as well as how being Chicancos they are excluded from society because of their
ethnicity/race, yet are still apart of it because of their upbringing in the United States. What I
question is how would those queer Chicano men who were living with HIV/AIDS fit into this
equation? We can see how it would be with just the queer and Chicano aspects of their identity,
but how would it be with this final aspect. We can see how they wouldn’t belong due to their
condition, but then what would these men be apart of as a whole?
Gregorio Rodriguez
DeleteHow does Queer Aztlan: re-Formation of Chicano Tribe by Cherrie Moraga contribute to the discourse of the class? Cite two examples. What is the debt Moraga states is owed to lesbians? [one paragraph]
ReplyDeleteCherrie Moraga’s “Queer Aztlan: the Re-Formation of Chicano Tribe” contributes to the discourse of the class by how she is able to analyze and critique the different aspects of the Chicano movement/community and how they affect the queer members, both the gay Chicanos and the Chicana lesbians, while focusing on the detail that even though gay Chicanos are receive much punishment within the community for who they are while still trying to maintain any priviledge they can from being men. Moraga states how “feminist critics are committed to the preservation of Chicano culture, but we know that our culture will not survive martial rape, battering, incest, drug and alcohol abuse, AIDS, and the marginalization of lesbian daughters and gay sons” (232). The community as a whole is in constant suffernig, and with the neglect expierences by the queer Chicano bretheren, everything is taken to another level, especially with the queer Chicanos suffering from HIV/AIDS. How are they supposed to receive support from family and friends when all they do is get rejected? Seeing how Moraga further goes on to explain how Chicana lesbians came to care for their gay brothers in the Chicano community also adds on to the discourse of this class. Moraga goes on to state that “as a lesbian, I don’t pretend to understand the intricacies or intimacies of Chicano gay desire, but we do share the fact that our ‘homosexuality’ - our feelings about sex, sexual power and domination, femininity and masculinity, family, loyalty, and morality - has been shaped by heterosexist culture and society. As such, we have plenty to tell heterosexuals about themselves” (232). I believe that with this
passage Moraga allows us to look at the gay Chicano experience and utilize it in a form to criticize ther cis-heterosexual macho men of the Chicano community for their practices onto those within the community that do not adhere to the societal gender roles placed upon them.
Finally, the debt that Moraga states is owed to lesbians is what I believe among two different things: how gay men are able to enjoy their liberation in the present due to the women who fought for theirs, as well as the Latina lesbians who cared for the gay Latinos when no one else would, when their own Latino bretheren would reject them for being gay and their gay bretheren would reject them for being brown.
I asked you to write down your reaction to the documentary United in Anger: A History of ACT UP. What was that reaction? What did you know, if anything, about the HIV/AIDS movement? What are two scenes or people who stood out to you? How does Gay Sex in the 70s complement United in Anger? [one paragraph]
ReplyDeleteWhen watching United in Anger: A History of ACT UP, I was shocked at a lot of the information I came to learn throughout the documentary. I honestly did not know much about the HIV/AIDS movement; I was aware that Reagan was indifferent towards the AIDS epidemic and that HIV/AIDS was at first classified as gay disease, but I was unaware of the existence of ACT UP and the way they combatted the stigma, indifference, and misinformation of the media, politics, and health organizations. Two scenes that stood out to me the most when watching this documentary was when they conducted the protest in St. Patrick’s Cathedral in New York while there was a mass going on, and the way that ashes of loved ones were used as an instrument of political protests. With the St. Patrick’s Cathedral scene, I was shocked to see that amongst the different protests that occurred, that one of them was going to occur in a church setting full on disturbing a mass, which I was honestly not expecting. I would have understood signs being held up, and people doing their sit-ins, but the yelling in the church seemed a bit much, which I understand is needed in political protests, but it appeared to be unnecessary in this location. With the use of the ashes in political protests, I was not expecting members of ACT UP to throw the ashes of their deceased loved one as a demonstration of the needs to political/health/media reform in relation to the AIDS epidemic. Gay Sex in the 70s complemented United in Anger by demonstrating how liberated the lives of gay men were before the AIDS epidemic hit, how they were free to have sex with whoever they wanted without any consequences, until the ending of the film when it began to lead into the beginning of the AIDS epidemic.
Why do you think I am stressing the popular culture of the era (1970s to early 1990s), the music in particular? [2 or 3 sentences]
ReplyDeleteI believe that you are stressing the pop cultures of these eras because of how this was when queer people were at the peak in the 20th century. Pop culture at this time allowed for much of their visibility as well as something for queer people to look up to, to have something to fall back on, to have something to enjoy, especially with the music and the queer artists and divas who created art that queer people could enjoy as theirs. Even with the rise of the AIDS epidemic in the 80s, queer people still had pop culture on their side regardless of the rest of the media antagonizing them.
What is your reaction to the film All About My Mother? The film references a possible cure to AIDS through the third Esteban (Jesus Christ)...is this a sign of hope or irresponsible film- making?
ReplyDeleteI actually very much enjoyed All About My Mother, especially how it shined a light on lesser discussed subjects in film at the time of its release such as HIV and the trans community. A film such as this allows for an increase in the discourse of these topics in society. When the film introduces the idea of a possible cure for AIDS with the third Esteban, I honestly saw this as a form of irresponsible film-making because it can create some sort of false hope in those viewers who are afflicted by the disease, as well as spreading false knowledge to all viewers. The film could have done without that one scene revealing the possibility of a cure.
5. Almodovar’s All About My Mother gorgeously captures the character’s personalities and narratives beyond their identity. I believe that Almodovar’s reference to a possible cure to AIDS through the third Esteban is not irresponsible filmmaking, rather an attempt to dream beyond their reality. I felt that this was a creative way to dream up other possibilities in a time of despair, which oftentimes forces us to abandon respectability, which Almodovar does beautifully.
ReplyDeleteCite two passages (one or two sentences) from chapter 2 and chapter 7 from Gloria Anzaldua's Borderlands/La Frontera: The New Mestiza that you think relate to the class. [One paragraph per chapter]
ReplyDelete“Fear of going home. And of not being taken in. We’re afraid of being abandoned by the mother, the culture, la Raza, for being unacceptable, faulty, damaged.”
Chapter Two of Gloria Anzaldua’ s “Borderlands/ La Frontera: The New Frontera” details the contradictory experiences of a lesbian Chicana as she experiences discrimination from her community and famility for her sexuality. In this specific passage, Anzaldua redefines homophobia as a fear of going- a fear of being rejected from the family and from your own culture. This topic definitely relates to this class because it talks about the internal violence that arises in queer Chicanos who fear that their sexual identity does not belong at home or in the community. It is no secret that homophobia is a major issue in the Chicano movement and especially within Chicano households. This homophobia that plagues Latinx households often forces people further into the closet out of fear that their sexuality might ostracize them from their own family, culture, and race. Now, being HIV positive might complicate this relationship with your family even more because of the stigma that surrounds LGBT people and having to come out and admit your status. This fear of not being taken in by your people because of status is also relevant because HIV/AIDS patients often felt rejected from society just how Anzaldua describes this fear of coming out or “going home”.
“Colored homosexuals have more knowledge of other cultures; have always been at the forefront (although sometimes in the closet) of all liberation struggles in this country; have suffered more injustices and have survived them despite all odds. Chicanos need to acknowledge the political and artistic contributions of their queer.”
This particular passage spoke to me a lot because it directly speaks to the erasure of LGBT Chicanos and Chicanas in the community and their contributions to the movement. Being both LGBT and Chicanx gives people with intersectional identities a lot of insight behind the shortcomings of the movement that include misogyny and homophobia. LGBT Chicanxs who experienced the AIDs epidemic first hand have a lot more knowledge about discrimination and stigmitization than a straight Chicano would have. Anzaldua calls on the rest of the Chicano community to acknowledge these experiences of LGBT POC to inform themselves of their artistic and political contributions to the Chicano discourse. Furthermore, this passage relates to the class because it is similar to Professor Omar’s statement that the contribution of LGBT Chicano literature revolving the AIDs epidemic has very little importance in the movement. Learning about this important part of history from the literature produced by the queer Chicanxs that lived through it tells us a lot about the intersectional oppressions queer POC endure as health and disease are also considered.
How does Queer Aztlan: re-Formation of Chicano Tribe by Cherrie Moraga contribute to the discourse of the class? Cite two examples. What is the debt Moraga states is owed to lesbians? [one paragraph]
ReplyDeleteCherrie Moraga’s “Queer Aztlan: the Re-Formation of Chicano Tribe” greatly contributes to the discourse of this class because it describes how the issues and experiences of LGBT Chicanxs were largely ignored in the same Chicano Movement that reinforced heteropatriarchal standards of society. Moraga’s concept of a queer Aztlan challenges current attitudes towards, gender and sexuality, in order to build upon the patriarchal concept of Aztlan to be more open and accepting of its joteria. According to Moraga, this concept of queer Aztlan would solve the ignorance of differences within groups that were often exclusionary towards women, trans people and the rest of the LGBT community. The cruel reality of the Chicano Movement’s exclusionary treatment towards LGBT Chicanxs often resulted in increased stigmitization and discrimination of AIDs/ HIV Latinos. LGBT people of color were one of the most prominent groups affected by this disease and the mistreatment LGBT Chicanxs by their own revolutionary movement perpetuated the violence against lesbian and gay Chicanxs. Moraga continues to describe how Lesbian Chicanxs were largely responsbile for developing Chicana feminsim which centered the movement around the experience of race, gender, and sexuality. As much as Chicana Lesbians were helpful in building community, even by supporting gay Chicanos during the AIDS epidemic, Moraga notes how chicana lesbians are owed a Queer Aztlan where both straight and gay Chicanos overcome their misogny and patriarchy in order to become inclusive of all people.
I asked you to write down your reaction to the documentary United in Anger: A History of ACT UP. What was that reaction? What did you know, if anything, about the HIV/AIDS movement? What are two scenes or people who stood out to you? How does Gay Sex in the 70s complement United in Anger? [one paragraph]
ReplyDeleteI was shocked to learn about such repressed, unheard history that I thought I knew enough about. Before watching the film, I felt like I only knew the general goal of the HIV/AIDS movement and the negligence of the Reagan administration towards the epidemic. I knew about the fight to get the disease researched in order to receive proper treatment, however I did not know how impactful ACT UP and similar groups were into ensuring that the disease was even being talked about by the general public. I also was surprised to find out that it was through ACT UP and the AIDS/HIV movement that sexual health and safety became an important part of our society. I feel like it is an important part of our history that deserves to be acknowledged since so many activists stood up to get it recognized in the first place. One scene that was particularly powerful was the church protest scene were ACT UP activists entered a church , laid their bodies on the floor and screamed “You’re killing us!” This scene stood out to me because it was shocking to see the great depths these activists went to get heterosexual people and the government to take this epidemic as a legitamite concern. The declaration of “You’re killing us!” is shifting the blame to society and the government for refusing to act up on a disease that is taking over the country. During the AIDs epidemic, being silent and a bystander to the effects of the disease was the equivalent of giving someone the death sentence. Unless people started to notice and do something, the silence over AIDS was violence. Another scene that stood out to me was when ACT UP activists infiltrated Grand Central Station because it was empowering to see how many people were mobilized to stand up to the injustices facing the LGBT community. The sign that states “Money for AIDS, Not for War” stood out to me because it highlighted the government’s carelessness towards LGBT deaths by not funding research and choosing to fund war instead. Furthermore, this documentary complements “Gay Sex in the 70s” because it demostrates the hurricane of violence and death that fell upon the LGBT community following the most sexual liberating decade of the century (the 70s). Gay men, it seems like were at their happiest during the 70s where sex seemed to be everywhere- in public and private. It is interesting to contrast among the LGBT community on how they went from being sexually liberated to dealing with the disease that is harmful to their community .
Why do you think I am stressing the popular culture of the era (1970s to early 1990s), the music in particular? [2 or 3 sentences]
ReplyDeletePopular Culture from the 1970s and 1990s often reflected the highs and lows of the LGBT community during the sexually liberating 70s and the decade defining AIDS epidemic of the 80s. A lot of the popular culture indulged by the LGBT community from this era embraced a party culture, sexuality and femininity around the same time that the “gay scene” was becoming prominent. The music in particular brought life to gay men in the bars and clubs while at the same time, the music also amplified their experiences of discrimination and AIDs to heterosexual people and brought comfort to those going through the same experience.
What is your reaction to the film All About My Mother? The film references a possible cure to AIDS through the third Esteban (Jesus Christ)...is this a sign of hope or irresponsible filmmaking?
ReplyDeleteI loved how the mother’s experiences as a sex worker allowed her to see fellow LGBT sex workers as equals and even fall in love with one of them. It felt so refreshing to see how the movie handles having such taboo subjects such as prostitution, AIDs, and death with so much depth, witt and humor- it is unlike any film I have seen before. The mother, Manuela, is my favorite character because she is such a strong, devoted LGBT ally and advocate for AIDS/HIV patients. Manuela’s connections to the LGBT community and the AIDS epidemic reminded me of the Ruth Coker Burks story because they both could not watch helpless AIDs patients suffering so they took them in and provided the best of care. In Manuela’s case, she looked over a complete stranger, Hermana Rosa, because as a nurse and mother, she could not watch someone with the disease be so helpless.
The end of the film’s reference to a possible cure of AIDS through the third Esteban is definitely a sign of hope because I think medicine and science will eventually develop to find a cure for AIDS. Although it might seem like irresponsible filmmaking for providing people with false hope, there are actual cases of this happening that may inspire people to not give up and continue to search for a cure. It ends on a positive note that was much needed after the dark events of the last part of the film.