In The Women of La Raza, Enriqueta Vasquez brings together her long-time political commitments with her marvelous sense of curiosity and wonder to trace the contributions of women in Mexican and Mexican American history through the centuries, starting with Pre-Columbian indigenous ancestors all the way to the present time.

In the decades following the Mexican Revolution, nation builders, artists, and intellectuals manufactured ideologies that continue to give shape to popular understandings of indigeneity and mestizaje today. Postrevolutionary identity tropes emerged as part of broader efforts to reunify the nation and solve pressing social concerns, including what was posited in the racist rhetoric of the time as the “Indian problem.” Through a complex alchemy of appropriation and erasure, indigeneity was idealized as a relic of the past while mestizaje was positioned as the race of the future. This period of identity formation coincided with a boom in technology that introduced a sudden proliferation of images on the streets and in homes: there were more photographs in newspapers, movie houses cropped up across the country, and printing houses mass-produced calendar art and postcards. La Raza Cosmética traces postrevolutionary identity ideals and debates as they were dispersed to the greater public through emerging visual culture. Critically examining beauty pageants, cinema, tourism propaganda, photography, murals, and more, Natasha Varner shows how postrevolutionary understandings of mexicanidad were fundamentally structured by legacies of colonialism, as well as shifting ideas about race, place, and gender. This interdisciplinary study smartly weaves together cultural history, Indigenous and settler colonial studies, film and popular culture analysis, and environmental and urban history. It also traces a range of Indigenous interventions in order to disrupt top-down understandings of national identity construction and to “people” this history with voices that have all too often been entirely ignored.

The transborder modernization of Mexico and the American Southwest during the late nineteenth and early twentieth centuries transformed the lives of ethnic Mexicans across the political divide. While industrialization, urbanization, technology, privatization, and wealth concentration benefitted some, many more experienced dislocation, exploitative work relations, and discrimination based on race, gender, and class. The Mexican Revolution brought these issues to the fore within Mexican society, igniting a diaspora to el norte. Within the United States, similar economic and social power dynamics plagued Tejanos and awaited the war refugees. Political activism spearheaded by individuals and organizations such as the Idars, Leonor Villegas' de Magn n's White Cross, the Magonista movement, the Munguias, Emma Tenayuca, and LULAC emerged in the borderlands to address the needs of ethnic Mexicans whose lives were shaped by racism, patriarchy, and poverty. As Gabriela Gonzalez shows in this book, economic modernization relied on social hierarchies that were used to justify economic inequities. Redeeming la raza was about saving ethnic Mexicans in Texas from a social hierarchy premised on false notions of white supremacy and Mexican inferiority. Activists used privileges of class, education, networks, and organizational skills to confront the many injustices that racism bred, but they used different strategies. Thus, the anarcho-syndicalist approach of Mag nistas stands in contrast to the social and cultural redemption politics of the Idars who used the press to challenge a Jaime Crow world. Also, the family promoted the intellectual, material, and cultural uplift of la raza, working to combat negative stereotypes of ethnic Mexicans. Similar contrasts can be drawn between the labor activism of Emma Tenayuca and the Munguias, whose struggle for rights employed a politics of respectability that encouraged ethnic pride and unity. Finally, maternal feminist approaches and the politics of citizenship serve as reminders that gendered and nationalist rhetoric and practices foment hierarchies within civil and human rights organizations. Redeeming La Raza examines efforts of activists to create a dignified place for ethnic Mexicans in American society by challenging white supremacy and the segregated world it spawned.

Gathers columns from the Chicano newspaper "El Grito del Norte," where the author's fierce but hopeful voice of protest combined anger and humor to stir her fellow Chicanos to action as she drew upon her own experiences as a Chicana.

With contributions from a wide array of scholars and activists, including leading Chicana feminists from the period, this groundbreaking anthology is the first collection of scholarly essays and testimonios that focuses on Chicana organizing, activism, and leadership in the movement years. The essays in Chicana Movidas: New Narratives of Activisim and Feminism in the Movement Era demonstrate how Chicanas enacted a new kind of politica at the intersection of race, class, gender, and sexuality, and developed innovative concepts, tactics, and methodologies that in turn generated new theories, art forms, organizational spaces, and strategies of alliance. These are the technologies of resistance documented in Chicana Movidas, a volume that brings together critical biographies of Chicana activists and their bodies of work; essays that focus on understudied organizations, mobilizations, regions, and subjects; examinations of emergent Chicana archives and the politics of collection; and scholarly approaches that challenge the temporal, political, heteronormative, and spatial limits of established Chicano movement narratives. Charting the rise of a field of knowledge that crosses the boundaries of Chicano studies, feminist theory, and queer theory, Chicana Movidas: New Narratives of Activisim and Feminism in the Movement Era offers a transgenerational perspective on the intellectual and political legacies of early Chicana feminism.

With works by nearly fifty artists, including Richard Duardo, Sam Coronado, Vincent Valdez, Alex Rubio, Ester Hernández, Patssi Valdez, Gronk, César Martínez, and Luis Jiménez, this volume presents one of the most important collections of contemporary Mexican American prints in existence.