Signifying Spain, Becoming Comanche, Making Mexicans: Indian Captivity and the History of Chicana/o Popular Performance

Marez, Curtis

doi:10.1353/aq.2001.0018

Cited by 34 publications

(4 citation statements)

References 29 publications

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“…40 Nineteenth-century Anglo traders rarely perceived the demarcations between Spanish, Pueblo, and Genízaro that were first made under Spanish rule. Instead, they placed Genízaros at the lowest end of the social hierarchy and under the broader category of "mestizo," thus facilitating the erasure of New Mexico's Indo-Hispano heritage that took place under Anglo-American rule.…”

Section: La Genízaramentioning

confidence: 99%

Recovering Mestiza Genealogies in Contemporary New Mexican Art: Delilah Montoya's <em>El Sagrado Corazón</em> (1993)

Lewthwaite¹

2016

Frontiers: A Journal of Women Studies

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Section: La Genízaramentioning

confidence: 99%

Recovering Mestiza Genealogies in Contemporary New Mexican Art: Delilah Montoya's <em>El Sagrado Corazón</em> (1993)

Lewthwaite¹

2016

Frontiers: A Journal of Women Studies

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“…39 Curtis Marez suggests that captivity and adoption complicated the division between Comanches and Spanish-Mexicans to the extent that when Anglo-Americans "rescued" Hispanos back into white "civilization" from Comanchería territory after 1848, they often could not tell Hispano and Comanche apart. 40 Nineteenth-century Anglo traders rarely perceived the demarcations between Spanish, Pueblo, and Genízaro that were first made under Spanish rule. Instead, they placed Genízaros at the lowest end of the social hierarchy and under the broader category of "mestizo," thus facilitating the erasure of New Mexico's Indo-Hispano heritage that took place under Anglo-American rule.…”

Section: La Genízaramentioning

confidence: 99%

“…Montoya's recuperation of La Genízara in the form of a present-day mestiza body mirrors a wider pattern in which "modern mestizos," to quote Curtis Marez, "raid the Comanchería past for strategies of survival and opposition in the present." 49 broader pattern of Chicano mestizaje that is tied to loss and melancholy, ultimately, for Romero, the genre constitutes "a way of coming to terms with our indigenous mother." 53 Likewise, in research based on the Sánchez/Sarracino family of Atrisco in Albuquerque's South Valley, Bernardo Gallegos found that songs about "Comanchitas" (a term used for Native "servants/matriarchs") are sung to remember the family's and community's indigenous ancestral roots, and to recognize the ways in which Native women passed these songs down from generation to generation.…”

Section: La Genízaramentioning

confidence: 99%

Recovering Mestiza Genealogies in Contemporary New Mexican Art: Delilah Montoya’s El Sagrado Corazón (1993)

Lewthwaite¹

2016

fro

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A portrait should be more than a topographical likeness. It should point to the historical, social and economic status of the subject.-Delilah Montoya, 2013 1 Our lived reality had never been expressed artistically. We were drawing on a collective memory, a memory of absence. We're trying to discuss things that have never been discussed.-Delilah Montoya, 2000 2In her El Sagrado Corazón (Sacred Heart) series from the early 1990s, photographer Delilah Montoya replays the colonial history of New Mexico in order to reveal the mixed, Indo-Hispano heritage of her mother's birthplace. In a vital portrait from the series, Montoya addresses the neglected role that Genízaros or captive Native peoples played in shaping Spanish-speaking Hispano culture and society in New Mexico. 3 By depicting a captive Native girl in La Genízara, Montoya rewrites the colonial past as a history rooted in the slavery and oppression of indigenous women and children. From the sixteenth century onwards, colonial rule in New Mexico shaped the creation of distinct hierarchies of race, class, and gender, which became tied to systems of caste, servitude, and patriarchy. Vestiges of colonial power and myth-making continue to determine the status of New Mexico's Hispano population today. In contemporary New Mexico, old colonial hierarchies and caste systems play themselves out through the state-sanctioned myth of tri-cultural harmony, in

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“…In this context we should keep in mind not only direct labor exploitation but also the forced reservationing of Comanches, Kiowas, Navajos, Apaches and others in the 1860s and 1870s; the transportation of so-called Indian war criminals, who were forced to work on prison plantations in Alabama and Florida during the 1870s and 1880s; and finally the forced removal of Indian children from their families and their confinement to boarding schools during the late 19th and early 20th centuries. And like African slavery in the south, Indian slavery in the southwest was accompanied by forms of violent sexual exploitation that produced generations of mestizo or mixed offspring (Brooks, 2002;Marez, 2001Marez, , 2003 Although seemingly remote from conventional accounts, Indian slavery is in fact central to an emergent US mass media. And given longstanding associations linking media technology, futurism and science fiction, the early history of Indians in the mass media set the stage for subsequent representations.…”

Section: Indian Slavery and The History Of Old And New Mediamentioning

confidence: 99%

Aliens and Indians: Science Fiction, Prophetic Photography and Near-Future Visions

Marez

2004

Journal of Visual Culture

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Building upon the insights of Indian media-makers and critics, this article considers the ways in which science fiction about alien abduction incorporates and transforms histories of Indian slavery. Specifically, it historicizes science fiction in relationship to Indian slavery to explore its implications for contemporary demographic, political and cultural transformations. Narratives of encounter and conquest in Hollywood films such as Contact (1997) and Men in Black (1997) are considered in tandem with Indian media-makers and critics such as , who stress the long-term historical continuities among dominant images of Indians, at different times and places and in diverse forms, more or less from Columbus to the present.With few exceptions, science fiction literature and film have largely avoided direct representations of indigenous characters, settings and scenes. Echoing the history of official US discourses and practices that projected Indian disappearance, science fiction imaginatively removes Indian people from speculation about the future. Along with other imperialist discourses, it suggests that there is no future in being Indian. Although Indians are often consigned to the past, mass mediation has made Indian images available for thinking about the future. Hollywood blockbusters such as Contact (1997) and Men in Black (1997) are obsessed with Indians and, in particular, with the institutions of Indian enslavement that have been so central to US modernity.

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Signifying Spain, Becoming Comanche, Making Mexicans: Indian Captivity and the History of Chicana/o Popular Performance

Cited by 34 publications

References 29 publications

Recovering Mestiza Genealogies in Contemporary New Mexican Art: Delilah Montoya's <em>El Sagrado Corazón</em> (1993)

Recovering Mestiza Genealogies in Contemporary New Mexican Art: Delilah Montoya's <em>El Sagrado Corazón</em> (1993)

Recovering Mestiza Genealogies in Contemporary New Mexican Art: Delilah Montoya’s El Sagrado Corazón (1993)

Aliens and Indians: Science Fiction, Prophetic Photography and Near-Future Visions

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