mestizo

picture-of-dorian-gray  asked:

I'm writing a story with a character who is a loner (vampire)with a drinking problem and I feel like the usual sort of tough n gruff dude like that is white, straight, and hypermasculine. In my case, the character is immortal, half Mexican, used to be a cowboy/vaquero then later a punk, and is queer and is sort of whatevish about gender. Currently he's living out of the back of a van. Would it be an issue to have him do odd jobs around the small town he's in for pocket (ok drinking) money?

Mestizo Character Concept 

Go for it.  

If your story takes place in Mexico, note that alcoholism is an issue culturally because it has traditionally been part of your pay if you work in the industry (such as growing brewed crops), so you will literally drink (part of) your paycheck.  

If your story doesn’t actually take place in Mexico, then disregard that tidbit because it’s not relevant to the setting and probably wouldn’t enter into the plot to any degree.  I only mention it because you don’t know to research what you don’t know exists.

- Rodriguez

Sometimes i think about being a  latinx

and how the main, if not only, reason i exist is because of a mass rape done by white spaniards against the indigenous population of the americas. 

how the only reason i speak spanish is because of centuries worth of colonization 

how a people i never knew were washed away, killed, tortured, raped, and never allowed to speak their language or practice their culture again

i think about how my ethnicity is a visible result of all of this 

and i feel pure deep sadness because of it

Before you say you made a Filipino character or headcanon a character as Filipino

Please ask yourself what kind of Filipino exactly.

There are at least 175 ethnolinguistic groups (or ethnolinguistic nations, if you prefer the term) in the Philippines — quite an impressive number for such a small archipelago, yes? — with their own distinct languages, cultures and traditions, yet I keep seeing the same vaguely Catholic, Filipino-speaking flavorlessly pan-Filipino characters running around. Why?

Filipino is more of a national allegiance than an ethnic identity. Filipinoness is not a monolith. There is no such thing as just a Filipino. Filipinos are regionalistic and intensely clannish, and might even be antagonistic towards each other. For example: Tagalogs and Cebuanos are going to be different from each other and they will gladly tell you so, and these are both lowland-coastal Catholic ethnic groups.

To put things into perspective:

As was previously said, there are over 175 ethnolinguistic groups in the Philippines, only twelve of which number over one million members. Namely and in order from most to least populous: Cebuano, Tagalog, Ilocano, Hiligaynon, Central Bicolano, Waray, Kapampangan, Albay Bicolano, Pangasinense, Maranao, Maguindanao and Tausug. The first nine are predominantly Catholic and the last three are predominantly Muslim. Each group speaks a different language and adheres to its own set of traditions.

The majority of Filipinos are from lowland-coastal Catholic (or some other Christian denomination) ethnic groups that have been subject to Spanish colonization, but there is also a sizeable and growing Muslim minority that had never been under Spanish control with cultures quite distinct from their Catholic brethren; might I add that the arrival of Islam predated the arrival of Catholicism in the Philippines? There are also the indigenous peoples that comprise over 100 ethnic groups but only an estimated 3% of the population. The term is a misnomer — the vast majority of Filipinos are indigenous — and what they mean to say is non-Hispanicized, non-Christianized, non-Islamicized, mostly upland/highland or hinterland-dwelling ethnic groups. There are exceptions, though, and some groups that are otherwise classified as indigenous peoples have largely converted to Christianity (i.e. Ibanag) or Islam (i.e. Sama-Bajau). The lines can be arbitrary. There can be any number of mixtures and overlaps between these three major groups.

Then, there are immigrant and mixed populations, such as the Spanish mestizos (who, contrary to popular belief, are a small minority of the population), Filipinos of American descent, Chinese-Filipinos, Japanese-Filipinos, Indian-Filipinos, Koreans and Indonesians. Of course, they will have their own culture and traditions. Some of these groups have been here for centuries and, as such, have adopted a syncretized culture that combines the foreign culture with Philippine culture, leading to even more diversity.

The Chinese-Filipino community alone is already very diverse in itself. It is very old, with contact between the people of what would become China and the Philippines being established since the 9th Century BCE and immigration taking place as early as then. Roughly 2% of the population of the Philippines is Chinese-Filipino and up to 27% is of Chinese descent. Within this group, you can have different combinations of place of origin, ethnicity and social status in China, wave of immigration, method of and reason for immigrating to the Philippines, number of generations from the mainland, and where they settled in the Philippines and level of insularity vs. integration, and each configuration is going to be different, wildly or mildly, from the others. Some are going to be very similar to the surrounding community while some would be practicing and preserving traditions which are long gone and forgotten even in its native China.

tl;dr: The Philippines is ridiculously diverse for such a small collection of rocks by the Pacific. Disabuse yourself of the notion that you can simply say a character is Filipino and be done with it. Choose one and research.

The same applies to any ethnic group or race which you may wish to write or headcanon.

10

The Pollera and Somberero Pintado: Symbols of Panamanian Culture

La Pollera

Refers to the traditional costume of Panama worn by women consisting of a skirt and a blouse. Its origins are that of Spanish clothing worn by peasant women in the seventeenth century. The most iconic pollera is that of the pollera de gala; its development began when upper-class Spanish women started settling in the Americas. Since their lavish clothing was unsuitable for the tropical climate, they would appropriate the dress of their [Spanish] servants. However to make them appear more luxurious they would decorate the garments with lavish embroidery and lace. This type of pollera was eventually adopted to the white criollo and mestizo population; and to this day is seen as a national symbol of Panama. Traditionally a woman owns two polleras in her life; one during childhood and the other when she becomes an adult. Typically polleras de gala are handmade of white linen and embroidered with colorful patterns such as flowers and fruit. However, there are many different variations of polleras outside of the pollera de gala, and differences base on region. Another common type of the pollera is that of the pollera congo, with its origins among the Afro-Colonial population of Colón. The most common style of the pollera congo is a colorful patchwork one made by the use old fabrics, and it reflects the polleras worn by African women during the days of slavery. A woman who wears a pollera is referred to as an empollerada.

Polleras are usually accompanied by jewelry and accessories. The most common ones are the peinetas and tembleques. Peinetas are golden tortoise-shaped combs that surround the head like a halo, while tembleques are ornaments made of wire, pearls, or crystals; attached to the peinetas. These two accessories are often passed down by families as heirlooms.

El Sombrero Pintado

Is a traditional Panamanian hat most commonly worn by men, but occasionally by women as well. Recognized by its distinctive pattern of white and black rings, its origins are in the province of Coclé, however these days its seen as a national icon similar to pollera de gala. It is handwoven using the fibers of plants bleached in the sun; the rings that are black are made by using an Indigenous method of boiling fibers with chisná bush leafs, which cause a natural black dye. The cost of a hat is based on the number of rings, and hats with more than twenty rings can take up to a month to make. 

Cuautla, Morelos, 1910, Fondo Casasola.

“En las fotografías de Agustín Casasola, las mujeres con sus enaguas de percal, sus blusas blancas, sus caritas lavadas, su mirada baja, para que no se les vea la vergüenza en los ojos, su candor, sus actitudes modestas, sus manos morenas deteniendo la bolsa del mandado o aprestándose para entregarle el maúser al compañero […]. Envueltas en su rebozo, cargan por igual al crío y las municiones. Paradas o sentadas junto a su hombre, nada tienen que ver con la grandeza de los poderosos. Al contrario, son la imagen misma de la debilidad y de la resistencia." 

Elena Poniatowska, 1999 Las soldaderas, Fototeca Nacional del INAH, CONACULTA, México: 13.

10

Church of Santiago Apóstol, Pomata, Chucuito Province, Puno Region, Peru. Part 3: The main facade (c. 1794). 

Facing a narrow street leading to the town´s  square, the main facade of the church of Santiago at Pomata is more austere than the lavish lateral portal, but in no way less impressive. It was the last part of the church to be built and it consists of a portal within a projecting arch flanked by two huge tower bases. This particular arrangement, in which the portal is placed inside a deep projecting arch is rather common in Puno Region, and it is present in the churches at Lampa, Zepita, Vilque, Juliaca, among others. The portal is a large structure, three stories high - with a smaller fourth story- , with three bays framed by twelve columns, four on each story. These columns are different from those in the lateral portal, having a straight shaft carved in planiforme or mestizo style depicting a human figure holding vines entwined with flowers and leaves. The capitals seem to be highly stylized versions of the Corinthian order, consisting of two pairs of volutes in the first story and two rows of vertical leaves in the second and third stories. The entablatures, reduced to just a cornice, are also entirely carved with planiforme motives. The huge choir window, deeply splayed, occupies the second and third stories while shallow niches fill the rest of the spaces between the columns. The portal fits rather awkwardly within the projecting arch, with the outside columns of the third story not supporting its corresponding entablature.

Two huge tower bases flank the projecting arch that houses the portal. Of these, only the right base holds a belfry, while in the other an inscription states that it was built in 1794 (Quiroga año 1794). Over the base of the right tower two superimposed stories support the large belfry, composed of two arched openings on each of its four sides -an arrangement that resembles that of Cusco Cathedral - topped by a small dome over a cornice, surrounded by four pinnacles.

Images: 

  1. General view of the main facade.
  2. Main portal of the church.
  3. Main portal of the church.
  4. Inscription on the left tower.
  5. Detail of the projecting arch.
  6. Detail of the first story of the portal.
  7. Detail of the first story of the portal.
  8. Upper stories of the portal.
  9. Portal and right tower.
  10. View of the right tower.

All photos by Juan P. El Sous (2017).

I already made a post abt this but fogure another one wont hurt. im a disabled nb mestizo person living in an abusive house full of ppl who want me to move out. i cant drive due to my disability and have mental issues and chronic pains that make getting a job difficult, thought ive been looking but not getting calls back. My gf is also trans and living in a bad home and is being threatened with getting kicked out. She has a job but makes almost nothing and is also looking for a new job. We both really really need money and just. arent gettin it

my paypal is enbyclown@gmail.com and my cash me is cash.me/bloomington, and my gfs paypal is tj.schwartz@charter.net

i can do art for money and have commissions open rn

PLEASE rb and anything is helpful

💚Bloom

7

The Muxes of Juchitán 

Juchitán is a town in the southeast of the Mexican state of Oaxaca. The town which is largely inhabited by the Zapotec Indigenous people, has not only preserved it’s precolonial language and culture, but has also retained gender identities and roles that transcend the traditional western ones. Those which were subjected onto much of the rest of Mexican society by European colonizers. 

This contrasting expression of gender that survives among the Zapotec and Mestizo communities of southern Oaxaca, takes its form in the concept of the muxe. Muxe is a term used to refer to those assigned male at birth, but who identify either as women or as a distinct third-gender. They are an intrinsic part of Zapotec society, and highly respected for the roles they play in families, such as taking care of their elderly parents when their siblings have moved out of the household. Despite the acceptance of them in many rural areas, they face discrimination in more urban areas, mainly by non-Indigenous people who have inherited the Spanish cultural attitude of machismo. 

I’m listening to ttazz after 59 and ??????????? let me talk about this for a second since it was addressed by the mcelroys and had a lot of missing context to these interpretations. 

folks the reason taako’s ethnicity is important to be mexican (and I mean specifically mestizo mexican) isn’t because justin named his god damn wizard after tacos. in fact his name has zero to do with why I interpret him as mestizo. the reason is that part of taako’s arc is to invent in this world the concept of tacos, which is a traditionally mexican style dish. this was explicitly stated to be part of taako’s development from episode 1. 

it’s not that big of a deal (under these circumstances, imo, but correct me if I’m wrong) that a mestizo character is named after mexican food, taako’s a vain character and in the context of the story I can completely see him naming a dish after himself. what is a big deal is having someone outside of that ethnicity invent something from a culture that doesn’t belong to them. that’s honestly worse than having mestizo characters named after latinx food. 

[don’t comment on this if you aren’t latinx, ok to rb for everyone | this post has been edited to be more culturally appropriate] 

Okay but like, racism still exist in the Overwatch universe, not in the form of robo oppression but in the form of the back stories of some of the non-white characters.

From Lucios story and what vishkar did to the favelas, to a white blonde getting a promotion instead of the afrolatino man who deserved it as much if not more. Or a Maori man from NZ living in the Australian Outback being displaced from his home by the government… Intentional or not, OW has given us better narratives of racism more relatable to real life than the mess that is the whole “robo-racism”.

Like for starters calling the anti-omnic bigotry “racism” is such a trivialization of racism and can’t be compared. Torb, Zarya and the Junkers all have reasons to hate Omnics, the bots started a war and a genocide, it personally affected every antiomnic character, yeah some of them can be too extreme with their hate, but outside of some insults can you even blame them? Whom lose their family in war?.

Listen, in real life no mestizo, nor black nor Maori person have power over white people. Is a bad and stupid comparassion, those whom hate PoC think of us as inferior and the only thing we did to be treated poorly is *exist*, Omnics were more powerful than humans and started a war, repeating myself.

Can we please, for the love of everything, stop calling this mess of “”“ omnicphobia”“” racism or comparing to it, especially if you’re white.