Cultural Production of a Decolonial Imaginary for a Young Chicana: Lessons from Mexican Immigrant Working-Class Woman's Culture

Autor/inn/en	Carrillo, Rosario; Moreno, Melissa; Zintsmaster, Jill
Titel	Cultural Production of a Decolonial Imaginary for a Young Chicana: Lessons from Mexican Immigrant Working-Class Woman's Culture
Quelle	In: Educational Studies: Journal of the American Educational Studies Association, 46 (2010) 5, S.478-502 (25 Seiten)Infoseite zur Zeitschrift PDF als Volltext Verfügbarkeit
Sprache	englisch
Dokumenttyp	gedruckt; online; Zeitschriftenaufsatz
ISSN	0013-1946
Schlagwörter	Informal Education; Females; Empowerment; Sexuality; Foreign Policy; Immigrants; Mexican Americans; Sex Role; Working Class; Films; Feminism; Stereotypes; Laborers + Suchen Sie Ihr Suchwort? Informelle Bildung; Nichtformale Bildung; Weibliches Geschlecht; Sexualität; Außenpolitik; Immigrant; Immigrantin; Immigranten; Hispanoamerikaner; Geschlechterrolle; Arbeiterklasse; Film; Feminismus; Klischee
Abstract	Chicanas and Mexican women share a history of colonialism that has (a) sustained oppressive constructions of gender roles and sexuality, (b) produced and reproduced them as racially inferior and as able to be silenced, conquered, and dominated physically and mentally, and (c) contributed to the exploitation of their labor. Given that colonialism has also come to shape the way young women of Mexican heritage learn in mainstream US schools, informal education from everyday women's conviviality and solidarity becomes a pivotal context in which they can learn how to reconstitute colonial legacies. We examine how a group of Mexican working-class immigrant women at home and in a sweatshop fashion a girl named Ana, the main character in the popular film "Real Women Have Curves", into a confident young woman who engages in what Perez (1999, 2003) refers to as empowering and dynamic decolonial ways of seeing, knowing, doing, being, and reconstituting. In spite of its contradictions that, at times, assist in reproducing Ana as an oppressed laborer, it is their doing that helps produce her as a woman who engages in decolonial practices by facilitating her to deftly negotiate an oppressive economic and patriarchal space, a mainstream feminist space, and a space where their embodiments and creative cultural discourse, practices, and beliefs shine. As such, the film provides a powerful counterstory (Delgado 1989) that disrupts the chokehold of the logic of colonialism and how it seeks to classify, stereotype, and control young women like Ana. (Contains 11 notes.) (As Provided).
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Erfasst von	ERIC (Education Resources Information Center), Washington, DC
Update	2017/4/10