We will use Luis Valdez's Teatro Campesino as a lens in which to dissect the historical Cortez encounter between Colonial powers and the Indigenous Aztecs'. Cortez symbolizes "Colonial white power" over the Aztecs in modern Chicano Theatre. He also represents the white power bond over Chicanos' throughout history and into the present.
Group Project Proposal
Indigenous Mexican/Colonial Theatre
Our project will focus on comparing and analysing performance aspects upon the arrival of Cortez to Mexico with the work of Luis Valdez starting with 1965. In 1965 Luis Valdez formed El Teatro Campesino, a farm worker's theatre troupe. During the same year the Immigration Law in the US changed and remained as we know it today. His troupe soon grew into a national Chicano Theatre Movement. Valdez frequently lectures about El Teatro Campesino, and focuses on the importance of Chicano media to help fight the negative ethnic stereotypes.
We chose to research these two time periods because we are aware of the relevance of Valdez's work in our contemporary context of Mexican Immigration but we also consider that this revival of Mexican theatre would only had been possible under the influence of Colonization. In our beginning research we came upon Valdez as a very active member of the Chicano community who still has resonance and is an active artist in the present.
In order to decide on a narrow topic we consulted the following sources from the library site and the web:
Booth, Willard C. "Dramatic Aspects of Aztec Rituals." JSTOR. University of Minnesota, n.d. Web. 9 Nov. 2012.
Garcia Marquez, Gabriel. "The Solitude of Latin America." Nobel Prize. Speech.
Ludden, Jennifer. "1965 Immigration Law Changed Face of America." NPR (2006): n. pag. Web. 9 Nov. 2012.
Necessary Theatre: Luis Valdez. YouTube. UCtelevision, 19 June 2008. Web. 9 Nov. 2012.
"The Official Site of El Teatro Campesino." The Official Site of El Teatro Campesino. N.p., n.d. Web. 09 Nov. 2012.