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Added by: Adriana Clavel-VázquezAbstract: This article analyses the causes of the disparity in collective rights gained by indigenous and Afro-Latin groups in recent rounds of multicultural citizenship reform in Latin America. Instead of attributing the greater success of indians in winning collective rights to differences in population size, higher levels of indigenous group identity or higher levels of organisation of the indigenous movement, it is argued that the main cause of the disparity is the fact that collective rights are adjudicated on the basis of possessing a distinct group identity defined in cultural or ethnic terms. Indians are generally better positioned than most Afro-Latinos to claim ethnic group identities separate from the national culture and have therefore been more successful in winning collective rights. It is suggested that one of the potentially negative consequences of basing group rights on the assertion of cultural difference is that it might lead indigenous groups and Afro-Latinos to privilege issues of cultural recognition over questions of racial discrimination as bases for political mobilisation in the era of multicultural politics.
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Added by: Adriana Clavel-VázquezPublisher’s Note: In this essay, Mariátegui offers an analysis of Peruvian literary practices and a criticism of some of its central figures. He argues that what has been construed as a “national literature” erases the contributions of Indigenous cultures to Peruvian identity, and, in doing so, it partly contributes to the marginalization of Indigenous Peruvians.
Comment (from this Blueprint): Mariátegui’s criticism of the Latin American literary canon is interesting because he brings forward the way in which Eurocentric mestizaje has shaped the aesthetic practices that are regarded as constitutive of Latin American identity. Much like Adrian Piper’s criticism of critical hegemony in the arts, Mariátegui argues that the Latin American literary canon is built on “Hispanism, colonialism, and social privilege” that is passed as a neutral academic spirit. Mariátegui shows, therefore, how even in mestizaje taste remains racialized.
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Added by: Adriana Clavel-VázquezPublisher’s Note: This book examines the work of Chicana artists, feminist Mexican-Americans who aim at interrogating their identity through art. In this chapter, Pérez examines what she regards as “the general intellectual vindication of Indigenous epistemologies that characterized much of the thought and art of the Chicana/o movement”. She argues that, in opposition to the male Chicano perspective that characterized the early movement, Chicana artists embrace their Indigenousness in a way that aims not simply at antagonizing Eurocentric culture, but that aims at “a genuinely more decolonizing struggle at the epistemological level”. The chapter focuses on writers Gloria Anzaldúa, Cherríe Moraga, Ana Castillo, and Sandra Cisneros, and on artists Frances Salomé España, Yreina Cervántez, and Esther Hernández.
Comment (from this Blueprint): Pérez’s analysis is interesting for the aims of the blueprint for three reasons. First, it is interesting to see the role she grants to spirituality in the fight for social justice, particularly when it comes to gender, race, and ethnicity in the U.S. Second, it is interesting to see whether the emphasis on the connection between aesthetic practices and spirituality might help avoid mestiza aesthetics falling into appropriative practices. Finally, it is important to analyse mestiza culture in the U.S. to see whether it might offer any lessons for mestizo cultures in Latin America.
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Added by: Adriana Clavel-VázquezAbstract: This paper examines the relationship between the aesthetic frameworks of José Vasconcelos and Gloria Anzaldúa. Contemporary readers of Anzaldúa have described her work as developing an “aesthetics of the shadow,” wherein the Aztec conception of Nepantilism—i.e. to be “torn between ways”—provides a potential avenue to transform traditional associations between darkness and evil, and lightness and good. On this reading, Anzaldúa offers a revaluation of darkness and shadows to build strategies for resistance and coalitional politics for communities of color in the U.S. To those familiar with the work of Vasconcelos, Anzaldúa’s aesthetics appears to contrast sharply with his conceptions of aesthetic monism and mestizaje. I propose, however, that if we read both authors as supplementing one another’s work, we can see that their theoretical points of contrast and similarity help frame contemporary philosophical discussions of racial perception.
Comment (from this Blueprint): In this paper, Pitts does two things that are relevant for the aims of this blueprint. First, she understands Anzaldúa to be in dialogue with, and as a continuation of, the Latin American philosophical tradition. In this sense, rather than seeing Latinx feminism as emerging simply from an opposition to the Anglo-American intellectual tradition, she sees it as inheriting and furthering a rich Latin American philosophical tradition that, although problematic at times, has plenty to offer to contemporary philosophical thought, and which has been unfortunately ignored for too long. Second, she brings forward the role that aesthetics plays in theorizing about race and mestizo identities in Latin America, and in the constitution of social identities, as well as the centrality of aesthetics in the Latin American philosophical tradition.
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Added by: Adriana Clavel-VázquezAbstract: The globalization of the world is, in the first place, the culmination of a process that began with the constitution of America and world capitalism as a Euro-centered colonial/modern world power. One of the foundations of that pattern of power was the social classification of the world population upon the base of the idea of race, a mental construct that expresses colonial experience and that pervades the most important dimensions of world power, including its specific rationality: Eurocentrism. This article discusses some implications of that coloniality of power in Latin American history.
Comment (from this Blueprint): The coloniality of power at the centre of Latin American societies as analysed by Quijano is key to understanding why a notion like mestizaje is problematic when building national identities in multicultural States. Quijano’s notion of the coloniality of power helps explain why even when Latin American identities are purported to include Indigenous and Black culture, mestizaje often involves the “civilizing” force of European rationality. Quijano, therefore, helps in bringing forward the dangers of mestizophilia: the pseudo-integrative spirit of mestizaje into multiethnic, multicultural, multiracial society risks becoming a homogenization under whiteness.
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Added by: Adriana Clavel-VázquezPublisher’s Note: Tarica examines Rosario Castellanos’ Indigenism in her literary work, particularly in her fictional autobiography Balún Canán (The Nine Guardians). Tarica argues that the novel is an examination of the interaction of Castellanos’ mestiza and female identities, and that it concludes with the constitution of an “utterly lonely figure”. Nevertheless, Tarica argues that the inclusion of other protagonists, such as the protagonist’s Mayan nanny, allow for Castellanos to examine the coloniality of power and the appropriation of indigenous identities. According to Tarica, this allows Castellanos to present the protagonist not as a heroine, but as an antiheroine that offers an “absolutely partial version of national events”, and who manages to affirm herself only in “a place of solitary wandering: Uranga’s Nepantla as in-betweenness.
Comment (from this Blueprint): Rosario Castellanos’ examination of mestiza identity as being in-between proves an interesting test to the criticisms of Indigenismo suggested by Villoro. It reveals a complex relation between the mestiza protagonist and the Indigenous cause. Castellanos also offers an opportunity to think about mestizaje from a feminist perspective. When it comes to mestiza, rather than mestizo, consciousness, we find a double displacement. She is out of place insofar as she finds herself in between European and Indigenous cultures. But she is also out of place because, as a woman, she cannot fully be a citizen of the mestizo nation and neither can she go back to an Indigenous culture to which she doesn’t belong.
Comment (from this Blueprint): Given unjust social conditions faced by Afro-Latin communities in Latin America, it is important to examine the erasure of Afro-Latin identities from narratives about the constitution of mestizo national identities. While Indigenous identities are appropriated as partly constitutive of mestizo identity, Afro-Latin cultures are often regarded by mestizos as that which is Other. This results not only in the exoticization of Afro-Latinidad, but in the lack of available resources to acknowledge and address racial discrimination faced by Afro-Latin groups in many Latin American countries. Moreover, while Latin American cultures are often regarded as the result of Spanish and Indigenous mixing, it hasn’t been until recently that the African diaspora has been acknowledged as the third root of Latin American aesthetic practices.