Lesson 5

Border Identity: AngloChicaNorteña

Objective: Students will analyze the concept of identity in the context of the border region, and in particular by considering the concept of identity in a movie concerning a famous border personality.

NCSS Standards Met By This Lesson: I, II, III, IV, V, IX

Introduction: The study of identity from an academic point of view does not have to be a controversial one, though it may be.  The vast variety of terms people use to describe themselves and each other in this region indicates that identity is fluid and multi-faceted: Anglo, White, American, Texan, New Mexican, Southern Californian, North American, Latin American, Central American, Norteño/a, Mexican-American, Chicano/a, Latino/a, Mexicano/a, etc.  Consider this lesson an exploration of identity, with the focus on construction rather than definition.

For more information on this topic:

Vila, Pablo, Crossing Borders, Reinforcing Borders: Social Categories and Narrative Identities on the U.S.-Mexico Frontier, Austin: University of Texas Press, 2000.

Materials/Preparation: In some way, acquire the movie "Selena."  If watching clips only, view in advance and note scene markers.  Also acquire a Selena tape/CD that contains the song, "Technocumbia." (Available on both Amor Prohibido and Greatest Hits.)

Instruction/Practice:

Part 1 -- Movie as Text: Scenes from "Selena"

Use scenes and/or whole movie "Selena" as a way to introduce the concept of identity.  The details of Selena's unfortunate murder too often overshadow other aspects of her story.  Therefore, it is not necessary to watch the whole movie in order to use it as a springboard to discussion.

Of particular interest, however, are the scenes of her father's days as a doo-wop musician, Selena's "Donna Summer"-influenced childhood, the scenes of the band's rise to Tejano music stardom, her father's speech about the difficulty of being a Mexican-American caught between two cultures, Selena's success in Mexico, and finally the scene in which her father notes with amazement that "for you, borders don't seem to exist."

Part 2 -- Class Discussion

After viewing the clips or movie, lead class in discussion about the questions of identity raised in the movie:

1. Selena's father says it is difficult to be a Mexican-American.  Why does he say that?

2. Selena and her brother don't seem to be as bothered by the difficulties the father describes.  Why do they not share his feelings?

(This might be a good point to see if any class members do relate to the father's feelings.)

3. Selena's Spanish is seen as a potential problem for her in Mexico by her father.  Has anyone else ever felt their Spanish was being judged, by anyone anywhere?  Why do you think Selena was able to overcome this problem in Mexico?  Why was she so popular?

4. What was easier for Selena--gaining acceptance in Chicano/Mexican/Latino/a culture or gaining acceptance in Anglo/North American culture?  To what degree did she succeed in "crossing over"?

5. What accounts for Selena's huge popularity among "Tejanos," Mexican-Americans?

6. Selena's success as a singer came by singing Spanish-only Tejano music. Was this music her first love?  What kind of music did she prefer as a child?  How many students in the classroom have had similar experiences?

7. What reason did her father give her for learning Spanish?  What was his own experience at "crossing over" into doo-wop?  Who rejected him?

8. Why is Selena's father so amazed that "for you [Selena], the borders do not exist."

9. Is it true that now, more than seven years since her death, Selena really did succeed in crossing over to an English-speaking, Hollywood pop audience?  Do you think she would have become as big a star in pop music as she was in Tejano music?  Why or why not?

10. If possible, play the song "Technocumbia" from Selena's Greatest Hits (and also Amor Prohibido).  In one of her last hit songs, Selena mixes hiphop, reggae, a brief heavy-metal lick, and Spanish.  How does this mixture work within the authentic definition (sound) of Tejano music?  s this the start of something new in U.S. pop music?  What do you think she represents musically? 

11. Also consider, Selena's husband and guitar player, Chris.  Chris was a heavy metal/rock musician.  Why did he agree to play in Selena's band?  In what sense is the heavy metal culture Mexican-American, Chicano, Anglo?  Are there aspects of culture in the U.S. which transcend these kinds of boundaries?

12. In what ways was Selena "American"?  How can her Tejana/Chicana aspects also be considered "American"?  From a Mexican viewpoint, what aspects of Selena's life & career are "Mexican," which are not?

13. Based on her musical and family background, how can we envision the identity construction of Selena: Norteña, Chicana, Latina, Americana, Tejana, others?

14. Are those of us in this room more like Selena in that we belong to many different cultural groups without being defined by one of them, or do we see ourselves as definitely within one or a limited range of cultural groups? 

Closure: Draw a series of Venn Diagrams on the board. Label Each one with a different identity descriptor.  Which identities blend into or blur into other identities?  Which ones do not?  Is it possible to be so completely Anglo or completely Mexicano that one does not blend into other identities on the border?

What role does language play in identity?  Is a lifelong Texan Anglo who speaks fluent Spanish more of a Tejano than a Texas-born Chicano who speaks no Spanish at all?

How many different identities can the class list? (or can groups list).  Be creative, have fun: create new identities--ChilAnglo: an Anglo who is hip to Mexico City culture. Kahnglo--Anglo infatuated with Frida Kahlo. Metallichica--Chicana obsessed with heavy metal music.

Can a red-haired Spanish-speaking Irish Catholic whose ancestor fought for Mexico in the Mexican-American War be considered in some way a Chicano?

How about rock star Beck, whose stepfather was Chicano and who was raised in a Mexican-American neighborhood, and uses Spanish in some of his songs?

Other examples?

Extensions: Consider writing a documented research paper on border identity for the final Border Project.

More work with border folklore, iconography, and history is also taken up in Lessons 15 and 16.

Updated October 2004.