Mixed Race Studies

Culture: The face in the mirror is mestizo

San Antonio Current
San Antonia, Texas
2006-02-22

Elaine Wolff, Current Editor
Plaza de Armas

A two-day roundtable takes a big eraser to identity lines

“I’m looking for the mestizo eye, the mestizo subjunctive, the mestizo soul,” says author John Phillip Santos as we wander through Retratos: 2,000 Years of Latin-American Portraiture at the San Antonio Museum of Art. He pauses before “Retrato de un Matrimonio,” by 19th-century painter Hermenegildo Bustos. Husband and wife have light brown eyes and dark brown hair, but where she is decidedly European in appearance, with pale skin and delicate features, his ancestry seems more indigenous: broad cheekbones and a chiseled nose. The work reflects “mestizo compassion,” suggests Santos.
 
“Compassion” is not a concept frequently associated with “mestizo,” a word that has spent much of its 600-odd-year history wielded as either a derogatory description for the children of European and Native American unions, or as a battle cry in the Chicano identity movement.

Circa 1523, in a creation myth that is equal parts fact and mystery, La Malinche—the mysterious Mexican Pocahontas—and Hernán Cortés founded the mestizo race with their first-born son, Martin Cortés, who would return to Spain with his father to further serve the aims of colonial-era Europe. Mexican and Chicano ambivalence over the legacy of La Malinche illustrates the problem with fully embracing mestizo identity: It means embracing the white conqueror father as well as the subjugated, but re-ascendant, indigenous mother. While La Malinche is celebrated by some as the mother of the Mexican people, she is alternatively known as La Chingada—the fucked.

In a sense, embracing the Virgen de Guadalupe—a mestiza Virgin Mary—is embracing an alternative mestizo birth, a virgin who conceived a new race without being defiled by the “other.”
 
But for Santos and an increasing number of Latino scholars, mestizo is the face of an optimistic future. “We are all mestizo. Our heritage is global. It quarrels with borders; it quarrels with demarcations,” he says, echoing his mentor, Virgilio Elizondo, the San Antonio priest who wrote The Future is Mestizo in 1986. Elizondo and Santos are two members of the organizing committee for the “Revealing Retratos,” Taller Popular, a private, two-day conference that will be held this weekend at SAMA and Trinity University, and includes such participants as Henry Estrada of the Smithsonian Latino Center, author and artist Ito Romo, Sandra Cisneros, and Graciela Sanchez of the Esperanza Peace and Justice Center. A public conference will follow April 22 at SAMA…

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