The Corsair Fall 2023 - Issue 4

OCTOBER 18, 2023 | VOLUME 126 ISSUE 4 | SANTA MONICA COLLEGE

Special Edition EVERY COPY OF THE CORSAIR IS FREE, EACH COPY AFTER IS 25¢ | SANTA MONICA COLLEGE, STUDENT-RUN NEWSPAPER SINCE 1929

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CONTENT News | pg. 4 Arts & Entertainment | pg. 5 Culture | pg. 6-7 Photo Story | pg. 8-15 Opinion | pg. 16-17 Sports | pg. 18-19 Review Column | pg. 20-21

EDITORIAL STAFF Victor Chambers | Editor-in-Chief Conor Heeley | Managing Editor Caylo Seals | Photo Editor Mikey Duro | Lead Copy Editor Cebelihle Hlatshwayo | Arts & Entertainment Editor Taylor Smith | Arts & Entertainment Editor Samayia Kirby | Culture Editor Danniel Sumarkho | Design Editor Blake Harris | Digital Editor Amber Guerrero | Multimedia Editor Renee Barlett-Webber | News Editor Akemi Rico | Social Media Editor Nicholas McCall | Sports Editor

CORSAIR STAFF Presley Alexander | Bunker King | Lucas Weiss | Danilo Perez | Nube Gamer | Desiree Fabian | Callie Yiu | Marcela Iraheta | Jorge Devotto | Antoineé Jones | Maria Lebedev | Josephine Fischer | Danniel Sumarkho | Josh Hogan | Rebecca Hogan |

FACULTY ADVISORS Ashanti Blaize-Hopkins | Journalism Adviser Gerard Burkhart | Photo Adviser Samantha Nuñez | Social Media Adviser

CONTACT Editor-in-Chief | corsair.editorinchief@gmail.com

FRONT PAGE A woman dressed as a Catrina stands in front of the artist exhibits at El Velorio's 13th Day of the Dead Music & Arts Festival at La Plaza de la Raza, Los Angeles, Calif. on Saturday Oct. 14, 2023. (Akemi Rico | The Corsair)

BACK PAGE A woman wearing a Catrina costume poses in front of the step and repeat banner at the entrance to El Velorio's 13th Day of the Dead Music & Arts Festival at La Plaza de la Raza, Los Angeles, Calif. on Saturday Oct. 14, 2023. (Akemi Rico | The Corsair)

PAGES 2 & 3 Illustration by Victor Chambers Original Artwork by Frederic Edwin Church

October 18, 2023 Month Day, 2023

L E T T E R F R O M T H E E D I TO R

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Latinidad w

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rom the moment I learned that I would be the next Editor-in-Chief of The Corsair, I knew there was one project I wanted to tackle: an issue celebrating Latine culture. As a subject matter close to my heart, I’ve grown anxious in the weeks leading up to the production of this edition. I am so glad to say that we have put together something we can all be proud of and that celebrates the diversity, beauty, and talent of the Latine community through the lens of Latinidad.

Latinidad is the idea that there is something common to all of those who belong to a Latin culture in the American continents. As with every socio-political and geo-political concept, creating a monolith out of millions of people will always lead to flawed and exclusionary results. After all, the most fundamental challenge in supporting the very idea of being Latine is grouping more than 700 million people hailing from 33 different countries into a single identity. Something that proves even truer in the United States, where the population is mostly unaware of the myriad of Latine experiences. An easy solution to this issue would be redefining Latinidad to celebrate the various ways one can be Latine and enforcing how our diversity is a source of strength.

In the United States, the lack of education and inclusion of subject matters relating to Latin America result in widespread confusion as to what are the characteristics of this community, even for Latines themselves. Before we can recognize our diversity, we need to understand where it comes from. It is important to note, once again, that socio-political concepts are inherently arbitrary and often reflect the interests of those who try to enforce them. They also must remain flexible for they are not foolproof notions.

Latin America refers to the regions of the American continents and the Caribbean where Spanish and Portuguese, Romance languages of Latin origin, are

widely spoken due to European coloniza- native country was still detaching itself tion. Although French is also a Romance from decades of American imperialism language stemming from Latin, Franco- and interventionism. As the 5th biggest phone cultures such as Haitian and Mon- country in the world, home to over 200 trealer are not often considered Latine or million people and the only Lusophone Latin American. Many Caribbeans who culture in the Americas, Brazilians have speak French, especially Haitians, how- often been regarded as self-contained ever, have begun to recognize their Latine people who rarely engage with their South heritage in recent years and claim they American neighbors. American influence should be included in the larger discus- also translated into us disfavoring any sion. cultural exchange with other Latin AmerThe term Latine, on the other hand, is ican cultures to the point of cultivating not as simple to unravel. The term is used prejudice and perceiving them as inferior both in Hispanic and Lusophone cultures to North American and European ones. to refer to anything and anyone who is I had never seen myself as anything Latin American. In the U.S., however, it other than Brazilian until moving to is used to refer to both Latin American the U.S. I didn’t have to. Upon arriving immigrants and here, however, those of Latin No somos ni de aquí ni de allá. Na- I was suddenly American heridie silenciará nuestras voces. Nadie grouped with cultage. For example, tures I had never both a recent- nos impedirá gritar en nuestros idi- experienced and ly-arrived Bra- omas. Nuestra realidad es sólo nues- assigned idenzilian immigrant tra para crear. / Não somos daqui tities and terms and a U.S.-born nem de lá. Ninguém silenciará nos- that I had never third-generation sas vozes. Ninguém nos impedirá considered beMexican Amerfore. All of a sudican are con- de gritar nas nossas línguas. Nossa den, I was being sidered Latines. realidade cabe somente a nós criar. called a Mexican, Latin American - Victor Chambers my last name, Studies scholLopes, became ar and UCLA adjunct professor Laura E. a detriment to finding jobs and securing Gómez supports in her seminal book “In- leases, and I had to decide which box to venting Latinos: A New Story of American check on every form I was given, “Latino Racism” that this definition only makes or Hispanic,” “Mixed race” or the truly insense in the American context and that sulting “Some other race.” American racsomeone who lives in Latin America ism, xenophobia, and identity politics hit should never be referred to as “Latino” me all at once and I am still grappling with but Latin American. Gómez explains that them, ten years later. it would be absurd to link the singular ex“Becoming” Latine, however, opened perience and history of being Latine in the up my life to various experiences and stoUnited States to the lives of Latin Amer- ries that have changed my life. Living in a ican individuals who have never lived or Latine-majority city where one can find immigrated to this country. communities from every Latin AmeriI have personally been part of both can country taught me not only about of these experiences and lived through new cultures but my own. In an effort to their extensively different realities. Hav- understand Latine history, I had to first ing been born in the Brazil of the 1990’s learn about Latin America. Books such as meant that I grew up in a time when my Eduardo Galeano’s “Open Veins of Latin

America” and Juan Gonzalez’s “Harvest of Empire,” showed me that our cultures are all intrinsically linked. We all share stories of genocide, war, imperialism, and colonialism, and in pre-colonial times, indigenous peoples established various routes of commerce with each other and engaged in cultural exchange.

In time, I realized that I was part of this legacy and that however isolationist Brazilian culture was in the past, its history was still deeply intertwined with other Latin American ones. This understanding allowed me to become part of something that is bigger than me. I can now connect to millions of different stories, from Guatemalan resistance fighters to the multi-generational Mexican families who have lived in the southwest long before the U.S. was even a country.

It’s time that Americans understand that being Latine is synonymous with diversity. We can speak English, Spanish, Portuguese, Quechua, Mayan, and hundreds of other Indigenous languages. We come in every color and are part of several heritages, from Indigenous to African, Asian, and European. We can, therefore, find community through the idea of Latinidad not by finding what makes us the same but by acknowledging how our shared past has shaped our story into a reality that is multi-cultural and infinite in its beauty.

Victor Chambers Editor-in-Chief

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NEWS

October 18, 2023

Decoding Identity: Othering in the Census

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Renee Bartlett-Weber | News Editor idia Serrano is an English as a second language student at Santa Monica College (SMC) and a proud Salvadoran. She identifies with the term “Hispanic,” as both her race and ethnicity. She said it would be hard to answer the race question on the Decennial U.S. Census with the options that were available in 2020.

“I’m not any of the ones you mentioned, I would put ‘other.’”

The term “Hispanic” is defined as “a person of Cuban, Mexican, Puerto Rican, South or Central American, or other Spanish culture or origin regardless of race” according to the Office of Management and Budget (OMB), which sets the standard definitions for race and ethnicity for all governmental agencies.

“Hispanic” defines a person’s ethnicity but has nothing to do with their race in the eyes of the government.

The 2020 Census categorized racial identity using the following six options: White; Black or African American; American Indian or Alaska Native; Asian; Native Hawaiian or Pacific Islander; and some other race.

The form allowed for respondents to write in their identities under each option, which provided a view into varying perceptions of how individuals identify

and how the government categorizes race and ethnicity.

“Some other race” was the second largest racial category after “White” with 50 million (15%) people in the country and more than 12.5 million (30%) in California. Nine out of 10 people in this category claimed racial identity that falls under “Hispanic.”

In addition to the variations of how Hispanic people identify their race, the term “Hispanic” has developed various meanings across the country.

For example, those who identify their ethnicity as Hispanic and write-in “Brazilian” are usually reclassified as not Hispanic in the Census because they do not originate from a Spanish-speaking country. However, an error in the 2020 census that did not reclassify this group revealed that 416,000 Brazilians identified as Hispanic, according to a Pew Research study. That’s more than 75% of the total Brazilian population in the U.S. The 1980 Census was the first time “Hispanic” was put on the form for all

respondents. Before that time, people from Mexico, Cuba, Puerto Rico were classified as “White.” Latin American advocacy groups lobbied for the terms inclusion in order to achieve more resources and representation. The term took hold as Spanish-language TV channels such as Univision and Telemundo began advertising the census, emphasizing the importance for all “Hispanos” and Latines to participate in the Census.”

In preparation for the 2020 Census, the Bureau tested many different versions of the race and ethnicity questions and proposed a combination of the two to decrease the number of people falling under “some other race.” Under the Trump administration, the Office of Management and Budget (OMB) did not change their 1997 definition, which sets the standard for all governmental agencies. They have, however, begun initial proposals for combining ethnicity and race questions and plan to finalize new criteria by the summer of 2024.

" I’d make another [category]...

Hispanic is a race for me, I think it is" - Emilio Cruz

“This is a red flag. It's been a red flag that's been around for a very long time,” G. Cristina Mora, a sociologist at the University of California, told NPR. She said she is concerned that growing the “some other race” category will obscure the true understanding of racial justice within the community.

The census determines how to allocate billions of federal funding and redraw congressional, state and local districts. It is mandatory for all to respond to the census, but many minority populations were undercounted. Latines were undercounted at a rate 4.99%, three times more than in 2010.

SMC student Emelio Cruz, said “I’d make another [category]” if he saw only the five race options that were on the Census. “[Hispanic] is a race for me, I think it depends on the person but for me, I think it is but I understand that other people don’t think so. I respect that.”

Several SMC faculty were contacted for this story but declined to comment or did not respond in time for the publication of this article.

October 18, 2023

A R T S & E N T E R TA I N M E N T

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Josephine Fischer | The Corsair

Katelina Eccleston at the Santa Monica College main campus Orientation Hall in Santa Monica Calif. on Tuesday Oct. 10, 2023 (Jospehine Fischer | The Corsair)

Reggaeton Con La Gata

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Desiree Fabian | News Editor t her Perreo 101 tour stop at Santa Monica College (SMC), Katelina “Gata” Eclesston discussed the history and people behind the rhythms of reggaeton music. The tour, an expansion of her eponymous podcast, is currently visiting various countries educating people about the genre’s Afro-Latine roots and the erasure of that community in the reggaeton scene.

“Reggaeton is sexy, poetic, political, and problematic, but it can also be a form of comfort, in which case I recognize that it is a reflection of life,” said Eccleston.

The Panamanian-Jamaican reggaeton historian explained that the genre was born from reggae and dancehall rhythms coming from Jamaica and Panama. The music as it’s known today, developed in Puerto Rico in the 1990’s, where it became a medium for political and social resistance to police brutality, racism, and colonialism.

“It was not cool to listen to reggaeton, the artists were talking a lot about police harassment,” said Eccleston.

“You’d get pulled over, harassed, arrest-

ed and even beat up by the police if you were caught listening to it. The violence knew no bounds during the 1990’s period when the genre was still underground.”

Dancehall and reggae both have origins in the music that was brought to the Americas through the victims of the Atlantic Slavery Trade. The very foundations of these beats can still be found today in Western African music.

Eccleston explained how the Afro-Latine roots of the genre have been erased from the larger conversation around it and how that reflects in the lack of Afro-Latino reggaeton artists who achieve stardom. Most of the reggaeton stars of today such as Bad Bunny, Karol G, and Maluma happen to be white Latines

while early Afro-Latines artists such as Tego Calderón and Ivy Queen are rarely acknowledged as having paved the way for that music’s current global success.

During the talk, Eccleston also explored various themes of intersectionality surrounding the genre.

She discussed how reggaeton artists in Panama and Puerto Rico adapted Patois, the main language used in dancehall, to Spanish. The musical characteristics of that Jaimaican language, which used to be referred to as “broken” one, were reflected in the cadence and inflections of the vocal melodies in early reggaeton.

“There's nothing broken about a language that the sons of slaves created so their oppressors couldn’t understand

"Reggaeton is sexy, poetic, political, and problematic, but it can also be a form of comfort." Katalina "Gata" Eccleston

them… That's powerful,” said Katelina.

Eccleston created platforms such as Reggaeton Con La Gata and Perreo 101, the first bilingual online platform telling the history of reggaeton, to study and emphasize the social dynamics related to Afro-Latine history and culture.

She shared that her ultimate goal is to highlight the importance of discussing the social messages behind reggaeton music.

“We can't idolize humans or institutions because they're imperfect,” said Hannah E. Mock, an SMC faculty member who spearheaded the planning for the event in question. “We should always be wondering more deeply about the art we consume and make an effort to learn more about it.”

Natalie Alarcon, an SMC music education major who attended the event, said, “Gata planted a seed in me to dig deeper and better inform myself about the history behind the genre.”

Eccleston’s next Perreo 101 tour stop will be at Princeton University in New Jersey on Oct. 27.

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C U LT U R E

October 18, 2023

"I went back to my cultural identity… and shared it with the world."

- Porfirio Gutierrez Weaver and textile artist Porfirio Gutierrez demonstrates weaving during his workshop on Thrusday, Oct. 12, 2023, at Santa Monica College in Santa Monica, Calif.

Photos by Nicholas McCall | The Corsair

A rug by weaver and textile artist Porfirio Gutierrez on display during his workshop.

A. Juarez, Arelin Torres, and Ashley Soroudi practice weaving.

Deborah Kabongo Kalambuta practies weaving.

Natalia Gutierrez weaves during the workshop.

C U LT U R E

October 18, 2023

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Weaver and textile artist Porfirio Gutierrez.

The Magic of the Zapotec Conor Heeley | Managing Editor

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olding up a hand smeared blood red, Porfirio Gutierrez shared the ancient, often painful history behind the dye that has meant so much to the Zapotec people, that of the cochineal insect. The Oaxacan-Californian textile artist was at the Main Campus on Thursday, where he gave a compelling presentation about his art and his culture, followed by an intimate workshop on weaving with students and community members.

At the invitation of SMC Spanish professor Dr. Alejandro Lee, Gutierrez gave an hour long presentation on the history and practice of Zapotec dying and weaving, and how this traditional, indigenous art form is built on a synchronous relationship with the natural world in which it evolved.

Officially billed as a talk on “The Relationship to Climate and Artist Material,” the Zapotec weaver spoke at length about his journey from construction worker to world renowned artist, the painstaking research and experimentation in rediscovering indigenous practices, and the history and cultural significance of his art and his dyemaking.

What followed this talk was an hour and a half long workshop in the Art Building, where students from the art

and Spanish programs learned the basics of weaving on cardboard looms, with personal instruction and guidance from Maestro Porfirio. One of those students was Esmeralda Hernandez, an organizer of the nascent Oaxacan Students Club. “It’s so amazing to have an Oaxacan artist on campus,” she said, noting that having him come just weeks after the college’s inaugural Guelaguetza celebration was doubly inspiring.

Sculpture professor Emily Silver worked with Dr. Lee to make the workshop a reality. “I heard that he [Gutierrez] was coming to campus, and I knew we couldn’t miss this opportunity,” said Silver, as she finished stringing the last of the cardboard looms she had constructed.

After getting everyone started with weaving, Gutierrez took a moment to rest and eat some of the Oaxacan food that had been arranged for by Dr. Lee. Reflecting on the path he’d chosen, he noted that he didn’t always consider himself an artist.

Born to a family of subsistence farmers in Teotitlán del Valle, in the Mexican state of Oaxaca, Porfirio admitted that he took his family's unique lifestyle and traditions for granted.

When they weren’t working to put food on the table, his mother, a Zapo-

tec healer, was out gathering medicinal plants and dyestuffs for their weaving.

Of these dyestuffs, the most historically important, according to Gutierrez, is the cochineal. About 5 millimeters long, these insects are parasites of cacti found throughout Mexico and the southwestern United States. After the colonization of Mexico, the industrialization and farming of cochineals was the most visible success of that conquest, responsible for the deep red that has been emblematic of Spain and Spanish aristocracy for centuries.

It was through this lens that he spoke about the relationship between art and climate in his presentation in Stromberg Hall. Because much of his materials are gathered by hand in Oaxaca, like the wool for his yarn and the plants for his dyes, he is wholly at the mercy of the natural, seasonal cycles.

This is why many of his rugs take seven months or more to complete, from conception to finished piece.

After leaving his village at 18, Gutierrez worked on construction sites around Los Angeles, eventually becoming a cement truck driver and then a supervisor of a cement plant. It wasn’t until he made his first visit back home that he realized what he had given up in exchange for the economic opportuni-

ty of immigrating to America.

From that point on, he dedicated his life to preserving and revitalizing the near extinct practice of weaving Zapotec textiles with hand gathered dye stuffs, a cultural tradition that stretches back before the recorded history of the Zapotec begins.

Gutierrez leveraged his English and his knowledge of American institutions to view the textile archives at some of the most prominent American cultural Institutions. “The collection at the National Museum of the American Indian was really helpful in researching design and techniques,” said Gutierrez.

Gutierrez splits his time between his studios in Ventura and Oaxaca, along with a steady stream of workshops and speaking engagements at universities, institutes and museums.

There are no other Zapotec weavers with as high a profile as Gutierrez, and for good reason, according to him.

“There are others doing this work, but in every art, there is a generational talent that comes along and defines the form,” said Gutierrez. When asked if that was him, he nodded.

The altar set up featured traditional offerings such as photos of loved ones, fruit, candles and sweets at El Velorio's 13th Day of the Dead Music & Arts Festival at La Plaza de la Raza in Los Angeles, Calif. on Saturday Oct. 14, 2023.

CHINGONA CATRINAS LIGHT UP THE NIGHT El Velorio’s 13th Annual Day of the Dead Celebration brings out the best of Los Angeles Chicano culture.

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P H OTO S TO R Y

October 18, 2023

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t’s the end of October in Los Angeles, bringing fall weather and celebrations of Dia de los Muertos, an event unique to Mexican and Aztec heritage. The crowd at the 13th annual El Velorio event was festive and boisterous, bouncing with energy from live music and DJs from three different stages.

A woman who goes by the name Claws passes out goodie bags filled with bundles of sage, a stick of palo santo, a small atomizer filled with Agua de Florida and a business card. Claws works with one of the sponsors, Black Widow Investigations, a law firm specializing in accidents. “We embrace the culture,” she said. “In Hispanic culture they make an altar to honor their ancestors and loved ones who have passed away.” The altar she speaks of is decorated with bright orange marigold flowers, candles, photos and sweets. “We wanted to make a community altar,” she said, “so you can light a candle and place it here on the altar to honor your loved ones.”

Claws is wearing a “Catrina” outfit, characterized by full skirts, dramatic headdresses, low bustlines, skulls, roses, flowers and dramatic accents.

Every outfit is unique, and is not complete without the characteristic face paint depicting a skull, or “calavera.”

A Catrina known as “La Catrina Chicana” wears a dress she designed in 2020. The bodice is black with gold sparkles, and her headdress is lit with fairy lights adorning the yellow and purple flowers around her face. The full skirt depicts a mural of Kobe and Gigi Bryant painted over a silhouette of the Los Angeles skyline.

She wears angel wings tipped with purple and gold feathers that open and close to a wingspan about twice as wide as she is tall. She says she designs a different dress every year, each one better than the last. When asked about next year, she said, “I don’t know how I’m going to top Kobe.”

In tribute to fallen female icons, there is an exhibit hall filled with various artists' interpretations of this theme. Ruby Woo is a multimedia artist and a female icon in her own right, showing her work depicting Maria Felix, aka “La Dona”, a 1940’s film star. Woo shares how impacted she has been by this community. “I used to model in the El Velorio fashion shows, so I’m really grateful to have been introduced to the space, to have met so many different people, and now be brave enough to feature a piece and showcase my work.”

Another iconic aspect of the event is the Viclasos Bike Show, which is run by Malo, an artist and motorcycle shop owner. He shares that this event has brought people together. “I got people that are from Texas, Arizona, Colorado and Nevada here. [These are] people that at one point or another didn’t get along. Whether it's the gang life or what-not, that’s the way we were raised back then.

And now we can all just come together as a people and celebrate this culture.”

Many people, both men and women, had their faces painted, and there are many creative Dia de los Muertos-themed costumes. There is a lot of pride in the culture that can be seen here. “This is why we come to El Velorio, it’s where La Raza shows up,” said Momo Rodriguez, an actor and podcaster, as he was on stage introducing the bands. La Raza is a Spanish term meaning “the people,” or “the community.” On this day, in a celebration of death, it is beautiful to see how full of life this community truly is.

Akemi Rico | Social Media Editor All photos by Akemi Rico

A couple poses at the Viclasos motorcycle show.

Ruby Woo, multimedia artist, dressed as a Catrina, standing next to her artwork "La Doña," depicting 1940's film star María de los Ángeles Félix Güereña that she created for the show.

A Catrina at El Velorio's 13th Day of the Dead Music & Arts Festival at La Plaza de la Raza in Los Angeles, Calif. on Saturday, Oct. 14, 2023.

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P H OTO S TO R Y

October 18, 2023

“Whether it's the gang life or what-not, that’s the way we were raised back then. And now we can all just come together as a people and celebrate this culture.”

– Malo

This skeleton was seen sitting in front of the Viclasos motorcycle show.

(Above) Ballet Folklorico dancers Folklor Pasión Mexicana de Los Angeles perform at El Velorio.

A woman wearing a Catrina costume poses in front of the step and repeat banner at the entrance t

October 18, 2023

P H OTO S TO R Y

to El Velorio's 13th Day of the Dead Music & Arts Festival at La Plaza de la Raza, Los Angeles, Calif. on Saturday Oct. 14, 2023.

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"La Catrina Chicana," wearing a Catrina outfit she designed, stands with her wings fully extended, her dress featuring a mural of Kobe and Gigi Bryant. She designed it in 2020 and is wearing it for the first time tonight at El Velorio's 13th Day of the Dead Music & Arts Festival at La Plaza de la Raza in Los Angeles, Calif. on Saturday, Oct. 14, 2023. Full skirts, dramatic headdresses, low bustlines, skulls, roses, flowers, and dramatic accents characterize a “Catrina” outfit.

OPINION

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October 18, 2023

Photo Credit Under Image | The Corsair

Aceptando El No Saber

Illustrations by Victor Chambers

How not being fluent in Spanish affects Latines and their sense of identity.

Marcela Iraheta| Staff Writer

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eing Latine of Salvadoran heritage has always been a big part of who I am. I used to be more confident in speaking Spanish when I was young, but that slowly changed over the years as I lost practice. People around me definitely noticed how I was no longer fluent and started teasing me. This loss of confidence can deeply affect people’s perspectives on their identities. While it made me feel disconnected from my culture, I now understand now that my fluency in Spanish doesn’t determine if I am Latine enough or not.

Many believe that if you can’t speak Spanish, you are not a real Latine. From

this, the term “No Sabo kid” has appeared, referring to a mistake that is commonly made when speaking Spanish. The correct form of the verb would be “sé”, which would prompt the phrase to translate to “I don’t know.” The expression reiterates how Latines might experience prejudice for not being fluent.

According to the “English proficiency of Hipanic population in the U.S., 2021” survey from the Pew Research Center, 54 percent of Latines who do not speak Spanish have been made to feel bad about it by other Latines.

“In a way, I think it can be funny. Like yeah, I don’t speak Spanish, but at the

same time, I also feel sad that I don’t,” said Santa Monica College (SMC) student Bianca Marron.

During the past century, many immigrants who came to the U.S. faced discrimination and prejudice for speaking Spanish. As a result, several generations have discouraged their children from speaking Spanish in the hope they would more easily assimilate to American culture. This has caused many of their descendants to feel disconnected from their heritage and suffer from that lack of connection.

The Pew Research Center survey also shows that the majority of third- or higher generation Latines say they can’t

carry on a conversation in Spanish.

“My parents don’t really talk about our culture, we do follow certain traditions, but I’ve never visited where I’m from. I kind of just feel like I’m American,” said SMC student Emily Martinez.

Lack of fluency might also result in loss of familial relationships. Communication is crucial when maintaining a relationship with family. Marron shared about her experience, “I didn’t talk to any of my relatives. Me and my sister would go to a corner in a room at family events and hang out together because we couldn’t talk to anybody.”

Programs such as Spanish Sin Pena have recently become incredibly Programs such as Spanish Sin Penapophave ular among Latines who struggle with speaking Spanish. Founded by Wendy Ramirez, they specialize in helping others learn the language through interactive classes and travel excursion to different countries in Latin America.

Whether one decides to learn Spanish or not, it’s important for Latines to learn to feel content with their Latinidad, irrespective of fluency. I used to be ashamed of not being able to roll my R’s as well as I’d like, but now I know that language should not define my identity.

We are an incredibly diverse people and there are many different ways of being Latine.

OPINION

October 18, 2023

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Afro-Latina: A Two Way Mirror The Afro-Latina perspective can vary with experience but intersect in thought and emotion. It’s vital to have balance.

Desiree Fabian | Staff Writer ith the end of Latine Heritage Month, certain feelings of confusion started arising in me again. I am Black and Latina, and I am also an Afro-Latina. I know who I am but don’t always know what that truly means.

The disconnect that comes with the separation of identity is one of life’s experiences that can create an internal struggle and exacerbate the challenge in searching for representation when one is forming their identity.

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The Pew Research Center’s “About 6 million U.S. adults identify as Afro-Latino” 2022 research suvey found that around 6 million Afro-Latinos made up 2% of the adult U.S. population and 12% of the adult Latino population. The research center compared their results to the 2020 census and found a difference of 4.8 million in identified Afro-Latines.

An Afro-Latine is someone who is of Latin descent with African ancestry. Multiple elements play a role in Afro-Latine identity formation, from skin

color, hair type, and social communities to language, culture, and home life.

Growing up, especially in Los Angeles, you don’t see a lot of Afro-Latine representation, at least people who look like me and by that, I mean Latines of richer skin complexion with curly and coily hair. However, this is a stereotypical primary image of identification that has been internalized and projected over time. It connects to the appointed and most recognized features of someone who is Black. The survey also shows

that Afro-Latines who identify solely as Latine or Hispanic are more likely to be perceived as multiracial or Black, signalign to the different experiences that make Afro-Latines who they are.

I struggle to feel connected to what is supposed to make me, me. Life as an Afro-Latina has been a series of boxes, an endless teeter-totter game of where to fit or wWhere to choose to fit in. I am a Black Mexican-Salvadorian with little ties to my Black origins and some knowledge of my Latine heritage.

Illustration by Victor Chambers

I know enough to get by, but what could be considered “enough” is something I constantly struggle to figure out.

Growing up in multiracial environments shaped my perception of identity. My blackness is a means of making potentially great connections, but it sometimes felt like an anchor in my overall acceptance.

Gabriela Ruiz, an SMC Pre-Nursing major, shared about her school experience as a young Afro-Latina who attended middle school in a predominantly Latine area.

“There, it was a majority Latine population, and in some ways, that was

good for me, because I was able to connect with them on that level,” Gabriela said. “At the same time, there was also this level of disconnect because I was black, and I was only one out of a few black people at the school.”

School is among the many factors that play a role in identity formation, especially for a free-floating Afro-Latine.

There is already enough struggle in one’s academic journey without having to deal with misaligned ideas of representation. As a child in school, getting along with Latines was easy, but my blackness was seemingly a factor that played a role in my connections.

I didn’t look like the other Latines, my skin was darker and my hair was “kinky,” but I could relate to them because I spoke Spanish. As I grew older, I started trying to figure out what was best for my hair. When I began to lay down my edges, I remember hearing from someone, “this makes you really look Black.” When I would speak Spanish, there would be a hovering cloud of pressure to be perfect and speak fluently.

But what does being too Latine or even becoming more Black mean?

Such perceptions only add to the pressure and insecurity of not having a

place to feel safe in, while wanting so badly to have one. A separate identity mentality heavily impacts how it feels to be Afro-Latina in our society. The Afro-Latine history and culture are as rich as the spirit of the people part of its community, but there needs to be space for more cultural growth and acknowledgment of this experience in our country.

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October 18, 2023

Los Tucanes de Tijuana singer Mario Quintero Lara performs during halftime of El Clásico de México at the Rose Bowl in Pasadena, Calif. on Sunday, Oct. 15.

C.D. Guadalajara Fernando Gonzales fouls Club América forward Patricio Sala (Center) during El Clásico de Méx

Final Score

Club América: Club Deportivo Guada

C.D. Guadalajara center back Antonio Briseno and Club América center forward Jonathan Rodriguez jump for the ball during El Clásico de México.

All Photos by Danilo Perez

Club América center forward Julian Quiñones fouls Chivas right winger Isaac Brizu-

Majo A

SPORTS

October 18, 2023

xico at the Rose Bowl in Pasadena, Calif., on Sunday, Oct. 15.

:2 alajara: 0

Aguilar sings the national anthem of Mexico.

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Both Club América and C.D. Guadalajara (Chivas) teams wait for a corner kick as Chivas fans cheer at the Rose Bowl in Pasadena, Calif., on Sunday, Oct. 15.

El Clásico de México

Two giants in Mexican soccer brought their rivalry to the Rose Bowl.

Danilo Perez | Staff Writer

E

l Superclásico, a rivalry match between Club América and Club Deportivo Guadalajara (Chivas), returned to Los Angeles County for the first time since 2018. It is the biggest club soccer rivalry in the North American continent, on the scale of other Clásicos such as the one in Spain between F.C. Barcelona and Real Madrid, or the National rivals match between the United States Men's National Soccer Team vs. the Mexican National Football Team.

This year’s Clásico was played in the famous Rose Bowl in Pasadena on Sunday, Oct. 15, to a sold-out crowd. There were approximately 86,134 people in attendance, breaking the previous record held by the ‘El Trafico’ match between both Los Angeles MLS teams, which had 82,110 earlier this year.

The rivalry began after the Azcárrega family, owners of what is now Televisa, bought América in 1959, which brought in a lot of money for the team, making them a powerhouse that lured in foreign players. This frustrated Chivas and its supporters due to them

having one major law: Guadalajara will only sign Mexican players.

For Oscar Osorio, an Américanista, it’s more than a game, “To see your team [América] come on top is everything. El Clásico is not just a game, it’s life or death. Winning the game means more than anything to a fanatico. Losing El Clásico can really hurt people.”

Before the start of the match, Majo Aguilar, the “princess” of regional Mexican music, performed the Mexican National Anthem.

During the first half, there was constant pressure from Chivas both in attacking and defending, forcing América goalie Oscar Jimenez into becoming a “wall,” stopping ball after ball. 28 minutes into the game, América striker Julian Quiñones scored the first goal from outside the box to cause Américanistas to go wild and begin chanting.

The score stayed 1-0 at the end of the first half.

For the halftime performance, Los Tucanes de Tijuana, known for “La Chona” and one of Mexico’s most popular bands, played some of their biggest

hits for the sold-out crowd. They left fans cheering and dancing before the start of the second half.

Just eight minutes into the half, Quiñones got his second goal of the day, making the score 2-0. It was a big week for the Columbian, as Quiñones had recently gained Mexican citizenship, making him eligible to play for the Mexican National Team.

With 20 minutes left, fans from both sides popped smoke bombs and fireworks, lighting up the stadium, but causing the match to be put on pause due to a lack of visibility. With smoke and drinks being thrown on the field, security quickly formed lines in front of fans to prevent pitch invaders. Some fans even got involved in fist fights throughout the game.

It ultimately ended 2-0 giving América their 94th overall win against Chivas, who has 78 wins since their first meet in the early 1940s. Both teams will return to their league (Liga MX) in Mexico to continue competing for the top spot.

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M E D I A CO L U M N

October 18, 2023

Latine Ar T

By Taylor Smith Arts & Entertainment “Untitled”, 24"x36", acrylic on canvas.

Oscar Lopez is a Los Angeles artist specializing in paint, sketch, and illustration. His work is a brilliant balance between realism and surrealism. In his portraits, Lopez plays with warm color palettes, while many of his illustrations are playful, leaving the trippy scenes open for the mind to ponder. Those interested in contacting Lopez can email him at oscarmlopez13@ gmail.com or find him on Instagram @oscarlopez_one.

Maria Maea is a master of mix-media sculpture as demonstrated in her piece “All in Time.” What is unique about Maea’s work is her use of organic materials, including palm leaves, marigolds and Spanish moss. Maea is capable of portraying both emotion and movement in her work, while exhibiting incredible weaving pattern techniques. As a Mexican and Samoan artist, she uses self-taught Polynesian techniques to create her sculptures. Maea can be found on Instagram @maeamaria and on her website mariamaea.com.

“All in Time”; 2022; mixed media.

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rtists Take Over

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LA

“Into the Forest”. 2022; 48"x48"; acrylic on canvas.

Maya Sarmiento is a Peruvian Los Angeles-based abstract artist whose work exhibits a calming, yet whimsical use of warm color palettes. Her brushstrokes dance across the canvas to create eye-catching patterns through her use of texture and attention to detail.

Sarmiento has a love for interior design, and creates each piece with home display in mind. Sarmiento can be found on Instagram @artbymaya.s and more information about her art is available on her website theartbymaya.com.

Stephanie Godoy

“Calendar of Promises”; 2022; acrylic on canvas.

is a first generation Mexican American artist who is based out of Los Angeles.

Godoy is not afraid to play with colors. Her paintings are impossible to ignore, as the vibrant neon scenes practically come to life on the canvas. Her beautiful perception of community is clearly expressed in each of her paintings, which explore themes of family, culture, and current events impacting society. Godoy can be found on Instagram @stephaniegodoyart and on her website stephaniegodoy.com