Of farmworkers and other exploitations: the enduring relevance of Rius’s "The Chicanos"
In 1972, the North American Congress on Latin America (NACLA) published a comic by the Mexican comic artist Rius: “NACLA Presents Rius: The Chicanos”. This was an English-language version of “Los Chicanos”, which Rius had released in his Los Agachados series in 1971. In US Latino cultural and comic...
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| Tipo de recurso: | artículo |
| Fecha de publicación: | 2021 |
| País: | España |
| Institución: | Universidad de Alcalá (UAH) |
| Repositorio: | e_Buah Biblioteca Digital Universidad de Alcalá |
| Idioma: | inglés |
| OAI Identifier: | oai:ebuah.uah.es:10017/49009 |
| Acceso en línea: | http://hdl.handle.net/10017/49009 |
| Access Level: | acceso abierto |
| Palabra clave: | Eduardo del Río García Rius Chicanos Los Agachados El movimiento chicano Congreso Norteamericano de América Latina Historietas Campesinos Inmigrantes indocumentados North American Congress on Latin America (NACLA) Comics Farmworkers Undocumented immigrants Chicano movement COVID-19 Arte Historia Literatura Sociología Filología Art History Literature Sociology Philology |
| Sumario: | In 1972, the North American Congress on Latin America (NACLA) published a comic by the Mexican comic artist Rius: “NACLA Presents Rius: The Chicanos”. This was an English-language version of “Los Chicanos”, which Rius had released in his Los Agachados series in 1971. In US Latino cultural and comic history “The Chicanos” is an overlooked artefact: it is the first comic book-length treatment of Chicanos and the diverse drives of the Chicano Movement. In this essay I assess “The Chicanos” as a key example of transborder information exchange about a US population with direct links to Mexico. “The Chicanos”, I suggest, survives as a cultural artefact—which comes to the discussion with inevitable historical biases and oversights—that illustrates how important historical memory is in a USA in which prevail ephemeral media soundbites and claims of “fake news.” |
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