Angely Morel Espinal – Reflection

The project I worked on delves into many historic elements of Afro-Latinidad and it personally relates to me as an Afro-Latina myself. The zine serves as a visual representation of my culture, history and resilience. Other than the zine, we also took some time to make cheese pastelitos and morrir soñando which I grew up eating and making in my Dominican household.

  The zine begins with the food component of how to make morrir sonando and queso pastelitos. I thought this was such an important part of the project for me because it allowed me to reflect on my culture and how from a young age I was taught to make easy Dominican snacks. Making it now as a 21 year old away from my family was the little piece of home I was missing. Moving forwards the next topic on the zine was about Roberto Clemente as an Afro-Latino athlete.  Roberto Clemente transcended the baseball field, championing humanitarian efforts and social justice causes throughout his career. Clemente’s accomplishments paved the way for not just Afro-Latinos but other people of color, giving a glimpse of what it possible to achieve and how one can use their platform for the better. As someone who grew up playing softball, I was taught early on about Roberto Clemente and learned to appreciate baseball and softball. 

The most exciting part for me was the section in the zine about afro-latina hair. I have been on a journey with my hair and identity for years and continue to appreciate and learn the power I hold with my natural hair. I have always had curly hair but because of the history of a Dominican dictator trying to whiten our race, for many years straightening our hair was seen to be more socially beautiful than leaving your hair curly. I experienced this growing up with many family members until the natural hair trend started evolving and I started to embrace my curls. Until going to a Dominican salon once and they permanently relaxed my hair for it to naturally be straight without my knowledge. I had to then grow out my natural hair for 2 years. My curly hair plays much more of a role than just a hairstyle but a lifestyle and embracing my identity as an Afro-Latina and normalizing natural curly hair being just as beautiful. 

Overall, this final project allowed me to do a great load of reflecting on the topic of passing on one’s culture and experiences. I grew up not really realizing how being in America my parents did a great job at keeping me connected with my culture, and not assimilating to American culture as my only identity. It also allowed me to continue to embrace my culture, history and experience. As the co-president of the Dominican Student Association here at Cornell it served as another motivator to continue to share my cultures with other and provide a piece of home to other Latino students in Ithaca.

Maria Lima Valdez Final reflection

My final project titled “I am first Aztec, then Mexican and then Latina, but at the end I am all three” reflects the intersectionality of my three identities. During this class, I reinforced my identities and embraced the sentiment of having multiple identities. My final project portrays how each identity intersects with one another and cannot be pulled apart because they are what shape me. Throughout the semester, we discussed the abstract concept of being Latinx and who is defined as one. Thus, it was not an easy conversation as we did not reach any definition because it is an extremely subjective label that was imposed on us during colonization.

For me the term Latinx cannot be defined as an objective definition as it has very personal meanings that are shaped by my own life. Being Latinx for me would not be possible without my other two identities. But above anything and everything I could never even begin to define what it means to be Latinx without being Aztec first. I am Latinx because I am Aztec. I am Latinx because white people colonized my land and killed my ancestors. I am Latinx because I cry the erasure of my culture, because I mourn the loss of my native tongue and the disappearance of my people.  I am Latinx because that was the term white colonizers imposed to all the oppressed people they once hurt. And finally, I am Latinx for circumstance and not for conviction.

The understanding of my identity as a Latinx woman comes from embracing what colonization did to my people and how the term was left as a band-aid to “unite” the damaged people. While I do not think Latinx people are a monolith or share many commonalities, I strongly believe that the thing that unites us is the impact of colonization. For some, it was the erasure of their ancestors, for others was the birth of the now multiple nationalities in Latin America, and for others, it was the damage of slavery, and many other impacts. As Latinx people, we are not the same, but our tears look the same, and we all know how oppression feels to some degree. As Latinx people, we are not the same, but our joy and achievements are celebrated by all. And as Latinx people, we are not the same but if someone else undermines one of us then all of us fight back.

The whole semester I kept wondering what a Latinx person is and who acquires that label. I still do not have an answer and probably I never will. But today I can finally say that I have fully embraced all my three of my identities as if it was one. Today I can say that my identities cannot be separated. Today I have embraced that there is not absolute definition for the term Latinx, and it is completely okay because we make what we want from it, and we do not owe any definition to anyone but ourselves and our community.

Anees Mitri – Reflection

Throughout this semester, our class has taught me that Latinos have shaped the history of the United States while battling harmful immigration policies and attempts at questioning their ability to be loyal to both the United States and one’s homeland. Further, Puerto Ricans have remained a stateless people with no American citizenship nor an independent nation for themselves. In spite of this, Latinos have organized collectively to build political consciousness, multiracial coalitions that are beneficial, and embrace a multiracial identity. One instance of such is El Plan de Santa Barbára, which led to M.E.C.H.A organizing on college campuses and embracing a Chicano identity that is based on a mixed identity. In connection with the Chicano effort to understand their identities and organize collectively for protection against discriminatory government policies is my own effort to understand my identity as a Palestinian-American and organize based on this identity in order to protect Palestinians and Arabs in the United States who are under attack by discriminatory administrations – Cornell’s administration and the presidential administration of Biden.

As a result of my effort to understand my Palestinian-American identity and organize based on my identity in order to protect Palestinians, I interviewed my grandmother – a Palestinian immigrant to the United States who became an American citizen. I interviewed her in order to understand how our identity has changed through immigrating to the United States, as well as if she felt that myself and her other grandchildren should identify as Palestinians, Palestinian-Americans, or something else. Unsurprisingly, she told me to identify as a Palestinian-American and to embrace both cultures. My grandmother mentioned that we ought to embrace being Americans because of how great of a country the United States is, and how we are able to be safe and free from war by living here. However, recent news shows that Palestinians are under attack by college administrations and by Zionist supremacists that have sought to kill Palestinians wherever they exist. For example, those three boys that were shot by a Zionist supremacist in a hate crime went to the same school in Palestine as my own mother did – and that hit home for me. 

Because of this news and what I gained from my interview, I now understand that there is an essential need for Arab activism and building organizations, like M.E.C.H.A, that embrace our Arab and Palestinian identity and seek to collectively organize politically in order to secure our rights as Americans to organize and protest, secure into law our constitutional right to boycott Israel, and build a multiracial coalition that may never be defeated by the forces of racism, hatred, and its culmination in Zionism. In this effort, I know that I am joined by those of the past, such as Cesar Chavez and the brave Cornellians that marched on Day Hall, in my mission of embracing my identity both as a Palestinians and as an American, as well as in my mission of forming an organization that is based on both an Arab and American identity and seeks to protect the civil liberties and the civil rights of Arabs in the United States as we seek to grow and prosper as a people.

The Ancestral Times Reflection (Allie Pequeno)

In our project, “The Ancestral Times”, we discussed the course’s themes of immigration, being “othered,” worker’s rights, and the bracero program. In the middle of the trifold, we mimicked the layout of a real New York Times article to create a vintage look of a newspaper. On the sides, we provided more images that connected to our newspaper articles to further the audience’s understanding of our families’ journey to the United States. 

For the theme of immigration, we each wrote about our own families’ experience coming to America. We talked about what prompted them to leave and what they experienced throughout their life. For example, my great grandfather immigrated to the United States to escape the tension of the Mexican Revolution occurring in the 1910s. Petros’s father came to the United States for a better job, life, and environment and Cristina’s mother came for a better education. Once in America, each of the members of our family faced discrimination, which we often discussed in class.  

We each talked about how our families were “othered” in America and how they felt like outsiders in the US. My great grandfather and Petros’s father are both laborers and both suffered from low wages because they were both immigrants. They both felt discouraged because they were often doing better work than the Americans that were being paid much better. This and other forms discrimination made them feel like they did not belong in America. On top of this, Cristina’s mother came to America for a better education, but there were few international students at the time. She also felt like she did not fit in the college environment and like she was an outsider.

For the theme of worker’s rights, my great grandfather and Petros’s father were both highly affected. My great grandfather was living in Delano when Ceaser Chavez and the United Farm Workers association (UFW) led the Delano grape protest. The protestors struck down grape vines in hopes of raising awareness and giving field immigrant laborers a higher hourly wage. This protest helped bring attention to the cause and, later, greater pay for workers like my great grandfather. Petros’s father was also directly affected by unsafe working conditions as well, suffering from severe injuries. Both of these examples emphasize the need to ensure all worker’s rights are being exercised and that they are safe and getting a good wage. Our families provide real examples of the activity we did in class about the safety and fair treatment of laborers.

For the theme of the bracero program, I discussed the life of my great grandfather, Jacobo Martinez, who immigrated from Coahulia to Texas in the 1920s for the first Bracero program. World War I was occuring during this time and American laborers were drafted to fight in the war. The United States and Mexico came to an agreement to hire Mexican workers to labor on American farms. My great grandfather was part of this movement and crossed at Eagle Pass to work in Texas. He first labored here for many years, but then moved to Arizona to work, then later worked and settled in Delano, California. This relates to our class discussion of the second bracero program, 20 years later, and the video created to promote it. 

All of our stories in our “Ancestral Times” newspaper were heavily intertwined with the themes we discussed in class. We included the topics of the bracero program, worker’s rights, being “othered”, and immigration in our families’ stories, applying these ideas to our families. By creating this poster board, it was a celebration of our families’ journey to America and our rich discussions throughout the course.

Damien Kerner; Reflection

The intention of our project was to shed light on a few of the many dishes that originated in the Latinx community. While researching, I was frequently taken aback by the dishes we discovered. I was shocked to learn that Caesar salad and the pumpkin spice latte are native to Mexico; however, I was more shocked that I had fallen victim to an improper way of thinking without even knowing. 

My experience during the production process often reminded me of “Splicing the Sonic Color Line”. More specifically, it made me reflect deeper on the consequences of mentally associating “whiteness” with normality. In our class discussion of the passage, we touched on the way in which “normal” behavior is considered “white”. One example from class explained how noisiness was often associated with Hispanic families in New York City; and thus, a quiet Hispanic family would be perceived to be acting “white”. The discussion then explored how the same associations are made for apparel: Latinos in New York City can often be identified by their clothing; however, if the clothing is considered normal by American culture, the wearer risks the accusation of “dressing white”. 

It’s this recurring idea that embracing American culture (by which I mean societal “normalcy” within the US) is the same as assimilating to “whiteness” that I recognized in my research. However, in the instance of our project, it was happening in the opposite direction. It was American culture embracing something else, the pumpkin spice latte or Caesar salad, and forcefully incorporating it into “whiteness”. This project was significant for me because it revealed that these two issues share the same psychology. In one instance, you have the imposition of “whiteness” on a person. To say someone is acting or dressing or speaking in a “white” manner while also rejecting them if they refuse to surrender to such practices is a forceful stripping of culture.

On the other hand, you have the imposition of “whiteness” on an object or an idea. This is the instance that is explored by our project. In this process, something new is introduced to American culture. If it is widely accepted, it becomes normalized, and over time the object or idea will lose its former cultural identity and become “white”. This is then the forceful acquisition of culture. That is how the pumpkin spice latte, whose cultural origins are unknown to most, has now become the epitome of “whiteness”. At least in the context of millennial humor.

After reflecting on this, our project seemed to combat that process by informing others about the forgotten origins of these dishes. This is what gave rise to the title of our restaurant, “Where Credit is Due”. The goal of sharing these origin stories reminded me of the platicars we learned about in class. Platicars have become ingrained in Latinx culture by preserving family history through stories. We aim to preserve culinary history through the same methods. Sharing these origin stories with the class is very similar to our own platicar and the discussion of names. The short and informal descriptions of each menu item take the place of our classmates around the table, each with their own story.

Catherine’s Reflection

Honestly, I had an incredible time in LSP 2100: Introduction to Latinx Studies. The class was filled with riveting discussions, watching documentaries, attending performances within our Cornell Community, and so much more. This class is unique in the sense that people of all different backgrounds and cultures are welcome to learn about the beautiful culture of America’s marginalized. Latin culture deserves to be celebrated and recognized, inspiring our group project, “Where Credit is Due.” Our work aims to highlight the often-overlooked contributions of Latin individuals to American Society. 

It is a common theme for minorities to not receive recognition for their work in America. A notable example is the braceros program and the ongoing reliance on Mexican labor in agriculture. These workers, essential yet underappreciated, endured harsh conditions to perform jobs crucial to our economy. They are at the forefront of many jobs typically labeled as “undesirable,” such as cleaning, and construction, and the list continues. 

Furthermore, my group (Marcos, Damien, Marlee, and I) discovered that several popular American dishes originated from Latin America. This shows us a recurring theme of unrecognized contributions, evident across various facets of American culture. Some of the dishes include pumpkin lattes, french fries, acai bowls, Caesar salad, and avocado toast. I absolutely love these foods, and I had no idea where they came from. It was shocking to find out that there were not just “American” foods. To bring the origin of these dishes to light, we conceptualized a restaurant to honor these foods, integral to both Latin American and American cultures. Though not a physical establishment, our vision included a detailed vision board, curated menus, and food samples for attendees to experience. 

My role was crafting the vision board, illustrating our concept’s essence, and celebrating the rich legacy of Latin culture in America. The architecture is inspired by Hacienda, characterized by special clay roof tiles and thick, stucco walls, offering excellent protection from the sun. It is common in Mexico and other Latin American countries. It is beautiful as there are large arches. Personally, I did not know anything about Latin American architecture, so it was an interesting learning experience researching different architectural styles. A lot of my designs and collaboration of certain furniture were inspired by Pinterest. I used Canva to create the vision board. It was exciting to envision something that could be possible in the future. 

Lastly, it was an amazing experience working with my peers. Brainstorming and stretching our minds to produce a project was extremely rewarding. We worked well together. We were able to coordinate times to meet and meet consistently to put in our best effort into this project. I am writing this the day before the exhibition, and I cannot wait to show off our work to everyone. I am proud of our group and this restaurant!!

Genesis Báez – Reflection

The poster I’ve designed serves as a visual narrative, delving into the intergenerational differences within my Dominican family, spanning across my grandparents, parents, and myself. This project provides a snapshot of our cultural evolution and seamlessly ties into the broader themes explored in our class, such as code-switching, identity, culture, and tradition.

At its core, the poster captures the essence of code-switching within the context of our family’s linguistic and cultural transitions. Each generation presents a unique blend of English and Spanish, showcasing the dynamic nature of language use as we navigate between the cultural landscapes of the Dominican Republic and the United States. The deliberate choice of language within the poster mirrors the daily code-switching experienced by my family, exemplifying how we effortlessly move between languages depending on the cultural context.

Moreover, the poster serves as a visual representation of our evolving identities. It captures the nuances of how each generation negotiates their Dominican heritage with the influences of American culture. The juxtaposition of traditional Dominican customs against contemporary elements symbolizes the intricate dance of identity formation. This exploration aligns with the discussions in our class regarding the fluidity and complexity of identity, demonstrating how individuals and families negotiate multiple cultural identities over generations.

The themes of culture and tradition are woven into the fabric of the poster, providing a vivid illustration of how our family has preserved, adapted, and redefined Dominican cultural practices. The visual storytelling on the poster delves into traditional celebrations, familial rituals, and the transmission of cultural values, emphasizing the significance of these customs across generations. This aligns with our class discussions on the enduring impact of culture and tradition in shaping personal and collective identities.

Education emerges as a central theme, depicted through the academic achievements of each generation. The poster highlights the sacrifices made by my grandparents and parents to ensure access to quality education, symbolizing the transformative power of learning within the context of immigrant experiences. This resonates with our class discussions on the intersectionality of education with culture and identity, showcasing how educational opportunities become a key vehicle for preserving cultural heritage while navigating the challenges of assimilation.

My poster combines the broader themes we’ve explored in class. It goes beyond a mere representation of intergenerational differences and becomes a visual narrative that encapsulates the intricate dynamics of code-switching, identity negotiation, cultural preservation, and the transformative power of education within the context of the Dominican diaspora in the United States. By connecting these themes, the poster serves as a tangible expression of the rich and complex interplay between culture, tradition, and identity within immigrant experiences.

Darwin M: Feeding to Relive Culture

When I was thinking about what topics/materials to turn to when creating my final project, two main sources come to mind: The Nueva York Recordings and Havana USA.

The specific recording that I had in mind was the first translation of a jukebox record. The audio describes a man translating what a Latino singer is stating in their song. The singer himself talks about how much they miss life in their home country and how moving to New York has made them become detached from their old culture. The singer complains about having to deal with cold weather, the difficulties that him and others face in adapting to the English language, and having to deal with things like elevators. He reflects on how he thought America would be so much better than what he’s experiencing, and how he’d love to go back to his home country no matter how he had to live. This idea of the realization hat the “American Dream” fantasy of the U.S. is a lie and missing the culture you had to leave behind to try and find better opportunities stuck out to me and remained in the back of my mind.

Meanwhile, our Havana USA discussion provided the prevalent examples of Cubans being able to “preserve their Cubanidad” in a way by involving their culture with their daily lives in the U.S. that allowed them to recreate a part of home. The quote from Luis Rafael Sánchez showed insight that, while Latinx people may not be able to return home for whatever reason, it’s still extremely important to try and keep that love for your country alive in whatever way possible. For him, he’s able to do so by bringing back items whenever he visits so that the memories keep him figuratively close to Cuba. Seeing all the imagery of murals and other methods to incorporate small parts or what made Cuba amazing was equally important, as it provides other Latinx people the opportunity to come together to appreciate this reference to their home.

With these projects in mind, I wanted to highlight that idea of missing and wanting to reintroduce Latinx culture, and how important/amazing it is to share that love for your country in the U.S. With thanksgiving being around the time for presentations, I realized that food is such a simple, yet effective way to provide this opportunity to have a piece of your culture wherever you go. Food is a universal thing that everyone can relate to, and the diversity of food as well as the different contexts in which people eat said food can provide different insights into cultures while also making space for others besides yourself to enjoy. Even in the discussion of Havana USA, there was a picture showing someone in an ice cream parlor naming flavors that refer to different Latinx topics (From games like “Domino” to people like “Abuela Maria”) This eventually developed into my idea of asking my family what food they commonly make at home that reminds them of the Dominican Republic, and what kind of aspects does that food remind them of.

Elisa Y Nitza

Project is inspired by Columbia and SONY Pictures 2009 film Julie & Julia, Trailer. Click the link to learn more.

Soundscapes of Latin America

Blog post

Melissa: An American Doll

Alexies Benitez

How does one guide a child in the intricate process of distilling the multifaceted tapestry of their entire childhood into a single suitcase, as they prepare for an educational journey to a foreign land? This dilemma unfortunately echoes the experiences of countless children who, opting to “pack light” for educational opportunities, find themselves parting ways with the comforting familiarity of their surroundings. In response to this deeply poignant reality, I’ve meticulously crafted a narrative that resonates with the profound experiences of immigrant children arriving in the U.S., equipped with little more than a handful of clothes and an unwavering dream. “Adventures with Melissa: An American Doll” unfolds the poignant story of my sister’s unique journey to the United States, portraying a childhood bereft of a doll that mirrored her appearance or a book that narrated her personal tale.

The origin of this narrative finds inspiration in the groundbreaking representation witnessed in the movie Barbie, where LatinX actors took center stage for the first time. This cinematic milestone sparked the profound notion that a doll could transcend physicality and encapsulate the myriad emotions of human experience. “Adventures with Melissa: An American Doll” strives to fill a void for countless immigrant girls who share similar journeys. Reflecting on our own childhood, my sister and I were not fortunate enough to own an American Doll, unlike some of our friends. These dolls, conspicuously adorned with different skin tones and elegant dresses, consistently concluded their stories with a portrayal of an idealized life. The concept of American Dolls is grounded in empowering girls through narratives, products, and shared experiences. Each doll is thoughtfully paired with a companion book narrating stories from the girls’ unique perspectives. However, these stories are not always diverse, and the last Hispanic American Doll story dates back to the 1820s. A genuine Latinx Immigrant Doll remains conspicuously absent, one that authentically conveys the struggles of defining what it means to be “Hispanic” — grappling with questions of appearance, language, and the elusive criteria determining one’s “Hispanic enough” identity.

Delving into the pages of this narrative reveals pivotal topics, such as summoning the strength to leave everything behind for a new life in a different country. It artfully explores the nuanced emotions of homesickness, the profound pain of losing a loved one, and the formidable challenges of confronting mockery due to an accent. This project holds immense significance for me, extending beyond its coverage of various topics pertinent to a LatinX curriculum. It becomes a powerful vehicle for providing voice and visibility to Hispanic students, affording them the long-overdue opportunity to be seen and heard.

In our academic exploration of the concept of being an alien and its implications in the United States, I found inspiration in moments of self-doubt, questioning whether I could ever authentically assimilate into U.S. culture and its education system. The concluding chapters of the book acknowledge that once migration occurs, things will never be the same. As Melissa grows, her journey becomes a testament to the resilience of the human spirit, navigating the ever-evolving landscape of adaptation. The narrative eloquently explains that her new town has transformed into her home, where she has discovered a new community providing unwavering love and support, echoing a salient point made in the Latinx curriculum about the nuanced definition of “home.” Through her experiences, Melissa learns that her culture is something she can take pride in, and her dreams are something she can always create and manifest into reality. The narrative becomes a celebration of identity, resilience, and the power of dreams in the face of adversity.

First-Gen Chisme by Amy Veras, Jossanny Goris, and Melissa Zavala

In First-Gen Chisme, we as a group of First-Generation Latinas at Cornell, share our diverse experiences growing up and navigating the challenges of being the first in our families to attend college. We reflect on how we found not only academic fulfillment but also a second home within Cornell. Latinas are stronger together, so we offer advice to our Latina hermanas on navigating new experiences, and breaking generational cycles academically and on the topic of mental health. Join us for a heartfelt conversation that weaves together our individual stories, aiming to inspire and empower the next generation of First-Gen Latinas.  

Soundtrack of immigrant stories

This website’s goal is to reveal the significance of music in my mother and father’s unique immigration stories. Through interviews and song analyses, we will construct a soundtrack that follows my mother from Cuba to Jamaica to America and my father from Nicaragua to Panama to America. Through their words, the role of music throughout the immigrant experience is discovered. Music can help them feel Cuban or Nicaraguan, music can act as a transitionary part of a transitionary country, music can work to create visions of a better future, and music can assimilate them in a place less friendly towards the “other.”

Where Credit is Due

By: Marcos Hernandez

In the very heart of culinary innovation, “Where Credit is Due” emerges as a creative project that pays homage to the unsung heroes of Latino cuisine. The project’s menu seamlessly blends iconic latin culinary with creative, luxurious dishes. Simultaneously, the vision board is inspired by Latin murals, and is brought to life with its colors and designs. The vision board not only serves as a visual feast for viewers, but also acts as an educational tool, fostering an appreciation for the cultural and historical significance of each and every dish. 

At the core, “Where Credit is Due” highlights an incredible array of food that has become Americanized but is actually native to various corners of Latin America. From Mexico to South American countries, the menu captures the essence of these foods that are often overshadowed by more popular Latino cuisines. The creators of “Where Credit is Due” wanted to not only display these meals, but encourage the sharing of stories and memories related to food.

The decision to create “Where Credit is Due” stems from the profound belief that food is a universal language that transcends borders, connecting people on a deeper level. Sharing a meal with someone is one of the simplest ways to invite someone in and open dialogue. The creators worked to create an imaginary restaurant environment in which ideas could be shared and stories could be exchanged.

In LSP 2100, we focused a lot on storytelling through “Platica”. We learned that this can have many different meanings depending on someone’s upbringing and culture. For example to some individuals it means to gossip, but to others it could mean informally “chit-chat”. However, to us, “platica” is getting to know someone beyond the surface-level through storytelling. By doing various exercises in a 40+ person class we were able to make connections and truly learn about the students we go to class with everyday. Someone whom we might have just ignored and walked by, may have a lot more in common with us than we would have thought. 

During our “platica”, a common thread was food. As mentioned, this project was created on the belief that in a world rich in culture and traditions, food remains constant. We wanted to bring light to foods that people in Latino cultures have been eating for centuries, but may not have the credit that it deserves. Naturally, the phrase “giving credit where credit is due” inspired the name of the project. By blending the cultural importance of food and platforming people’s voices, “Where Credit is Due” was born.  

“Where Credit is Due” is not just a culinary project, it’s a celebration of diversity, a reclaiming of cultural heritage, and a platform for all the voices who may have been silenced. The hope for this project is to spark new conversations about food and tradition. As viewers embark on this cultural journey, they will not only feel hungry, but they will be put into a safe space where they can share traditions and recipes that will finally be given the credit that they deserve.

Dos Vidas

By: Sofia Escalona

Guided by my newfound appreciation for ‘platicas’ as discussed in LSP 2100, I sought to embrace my deepest memories of platicas with my family through my artwork. A ‘platica’, in my home, is characterized by sharing history and childhood memories to a younger generation and in return, requires deep listening and desire to learn. My three pieces are my version of a ‘platica,’ embodying what I wish to pass down to future generations curious about their Mexican heritage. Instead of words, I use brushstrokes to tell my story. 

Through our collaborative exploration of our Mexican-American and Texan identities, Hannia and I deconstruct stereotypes, bridge similarities across our hometowns, and expose the multilayered tapestries of our lives. Our creation of separate artworks with entirely different styles but interwoven with overlapping themes serves as a reminder that the experience of Mexican culture is unique to each individual. Ultimately, there is no right or wrong way to engage with your Mexican identity. 

My first piece depicts a broken piñata in a backyard enclosed by a fence against the backdrop of Houston’s skyline. This artwork symbolizes the tenacity of cultural rituals within the dynamic tapestry of a bustling city. Scattered across the ground are a combination of Mexican candies, adding an additional layer of meaning to the narrative. Although it is hard to stay connected to my culture, being surrounded by people different from me and so far away from my family in Mexico, my home remains a safe place where I can authentically engage with my identity. Further, regardless of how others perceive me or try to define my identity based on my physical appearance, I must remember this image of the fence protecting my identity, memories, and culture from the outside world. This painting serves as a tribute to the continuous need to value and safeguard our cultural identities and reflects the ongoing significance of maintaining cultural rituals.

The lotería piece highlights the challenges I face when trying to maintain connection and tradition across distances from my family in Mexico. Childhood memories of sitting with my Abuelo, enjoying conchas dipped in café, and playing spirited lotería games with my Abuela and Tias inspired me to create this piece. Even though I can no longer engage in these activities with them face-to-face, phone calls have become a means to maintain connection and shared tradition, enabling the endurance of familial bonds across geographical distances.

My third piece honors my treasured ties to my family history with a self-portrait surrounded by pictures of my family, famous places, the outdoors, lyrics, cultural symbols, and reminders of who I am. This series argues that there is no right or wrong way to engage with culture; accepting one’s background is a personal journey. The artwork’s written sentence, “I know who I am y eso es suficiente para mi,” acts as a reminder to cling to my own identity regardless of what other people may think. It emphasizes how much more significant it is to accept oneself than to accept the opinions of others.

Every component of my artwork is a tribute to the depth of my heritage and the value of being true to who you are. By fusing individual artistic expressions, we embrace the mosaic of Mexican-American identity in the heart of Houston and McAllen refuting stereotypes, and honoring the authenticity that makes each story distinctively beautiful. This visual exploration of my identity is a proclamation that I am proud of the vibrant cultural tapestry that defines me.