Chicanafuturism

Our Lady (1999) by Alma Lopez. Ramírez writes that this piece "testifies to the dynamism and malleability of Chicana art and cultural identity."[1]

The term Chicanafuturism was originated by scholar Catherine S. Ramírez which she introduced in Aztlán: A Journal of Chicano Studies in 2004. The term is a portmanteau of 'chicana' and 'futurism'. The word 'chicana' refers to a woman or girl of Mexican origin or descent. However, 'Chicana' itself serves as a chosen identity for many female Mexican Americans in the United States, to express self-determination and solidarity in a shared cultural, ethnic, and communal identity while openly rejecting assimilation.[2] Ramírez created the concept of Chicanafuturism as a response to white androcentrism that she felt permeated science-fiction and American society.[3] Chicanafuturism can be understood as part of a larger genre of Latino futurisms.[4]

Ramírez is "a scholar of migration, citizenship, race, and gender; Latinx literary, cultural, and visual studies; and Mexican American history."[5] She is an Associate Professor of Latin American and Latino Studies at the University of California Santa Cruz.[3] She is the author of The Woman in the Zoot Suit: Gender, Nationalism, and the Cultural Politics of Memory.[6]

  1. ^ Ramírez, Catherine S. (Fall 2004). "Deus ex Machina: Tradition, Technology, and the Chicanafuturist Art of Marion C. Martinez" (PDF). Aztlán. 29 (2): 57. doi:10.1215/9781478003403-024. S2CID 239096960. Retrieved 5 May 2021.
  2. ^ Anaya, Rudolfo A. (1998). Conversations with Rudolfo Anaya. University Press of Mississippi. p. 142. ISBN 9781578060771.
  3. ^ a b Cite error: The named reference :0 was invoked but never defined (see the help page).
  4. ^ "Latino Science Fiction". obo. Retrieved 2020-05-02.
  5. ^ "Catherine Sue Ramírez". catherinesramirez.sites.ucsc.edu. Retrieved 2020-05-02.
  6. ^ Ramírez, Catherine Sue (2009). The Woman in the Zoot Suit : Gender, Nationalism, and the Cultural Politics of Memory. Duke University Press.