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The Image and Reality of the Tehuana/Juchiteca

(March 2008)

Next week, I want to get more into the work of creative women who were judged by the contemporaries as exemplifying “Mexicanidad”: the artists Frida Kahlo, Maria Izquierdo and Isabel Villaseñor, but also the Zapatista “transgendered male” Coronel Amelio Robles.  The campaign against “Pelonas”, “modern” women who chose to wear short “bobbed” hair (or flappers) in 1924, is also useful in getting a measure of what constituted a threat to Mexicanidad.

See essays in Jocelyn Olcott, Mary Kay Vaughan and Cano, Sex in Revolution Gender, Politics and Power in Modern Mexico by Carlos Monsivais (good on “soldaderas” and general cultural overview), Vaughan (general historical overview) Gabriela Cano (on the campaign against “Pelonas” – bobbed hair - in 1924) , Rubinstein (on Amelio Robles) and Tuñon (on Emilio Fernandez & Mexican cinema depictions of Women and Indians)

See also Tabea Alexa Linhard, Fearless Women in the Mexican Revolution and the Spanish Civil War (2005)

For the painters Maria Izquierdo and Frida Kahlo see the essays by Adriana Zavala and Sarah M Lowe in Mary Kay Vaughan and Stephen Lewis, eds., The Eagle and the Virgin Nation and Cultural Revolution in Mexico, 1920-1940 and, Jean Franco, Plotting Women Gender and Representation in Mexico 1989, Ch. 5 "Body and Soul", 102-28.

For Isabel Villaseñor, see Carmen Gómez del Campo and Leticia Torres Carmona, En memoria de un rostro: Isabel Villaseñor   México : LOLA de México, 1997.

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