Editing Chicano (section)

=== Cultural identity ===
[[File:Fiestas Patrias Parade, South Park, Seattle, 2015 - 367 - lowriders (21565007376).jpg|left|thumb|222x222px|[[Lowrider|Lowriding]] is a part of Chicano culture. The 1964 [[Chevrolet Impala]] has been described as "the automobile of choice among Chicano lowriders."<ref name="auto"/>]]
''Chicano'' represents a cultural identity that is neither fully "American" or "Mexican." Chicano culture embodies the "in-between" nature of [[cultural hybridity]].<ref>{{Cite book|title=Chicano Professionals: Culture, Conflict, and Identity|last=Renteria|first=Tamis Hoover|publisher=Routledge|year=1998|isbn=9780815330936|pages=67–68}}</ref> Central aspects of Chicano culture include [[Lowrider|lowriding]], [[Chicano rap|hip hop]], [[Chicano rock|rock]], [[graffiti art]], theater, [[Chicano murals|muralism]], visual art, literature, poetry, and more. Mexican American celebrities, artists, and actors/actresses help bring Chicano culture to light and contribute to the growing influence it has on American pop culture. In modern-day America you can now find Chicanos in all types of professions and trades.<ref>{{Cite web |title=Shaping a New Century {{!}} Mexican {{!}} Immigration and Relocation in U.S. History {{!}} Classroom Materials at the Library of Congress {{!}} Library of Congress |url=https://www.loc.gov/classroom-materials/immigration/mexican/shaping-a-new-century/ |access-date=2023-12-12 |website=Library of Congress, Washington, D.C. 20540 USA |archive-date=2023-12-12 |archive-url=https://web.archive.org/web/20231212055943/https://www.loc.gov/classroom-materials/immigration/mexican/shaping-a-new-century/ |url-status=live }}</ref> Notable subcultures include the [[Cholo (subculture)|Cholo]], [[Pachucas|Pachuca]], [[Pachuco]], and [[Pinto (subculture)|Pinto]] subcultures. Chicano culture has had international influence in the form of lowrider car clubs in [[Brazil]] and [[England]], music and youth culture in [[Japan]], [[Māori people|Māori]] youth enhancing [[lowrider bicycle]]s and taking on cholo style, and intellectuals in [[France]] "embracing the deterritorializing qualities of Chicano [[subjectivity]]."<ref name="Perez-Torres-2018">{{Cite book |last=Perez-Torres |first=Rafael |url=https://books.google.com/books?id=LElnDwAAQBAJ |title=Routledge Handbook of Chicana/o Studies |publisher=Taylor & Francis |year=2018 |isbn=9781317536697 |chapter=The embodied epistemology of Chicana/o mestizaje |format=E-book}}</ref>

As early as the 1930s, the precursors to Chicano cultural identity were developing in [[Los Angeles|Los Angeles, California]] and the [[Southwestern United States]]. Former [[zoot suit]]er Salvador "El Chava" reflects on how racism and poverty forged a hostile social environment for Chicanos which led to the development of gangs: "we had to protect ourselves".<ref name="Bojórquez-2019">{{Cite book|title=Chicano and Chicana Art: A Critical Anthology|last=Bojórquez|first=Charles "Chaz"|publisher=Duke University Press Books|year=2019|isbn=9781478003007|chapter=Graffiti is Art: Any Drawn Line That Speaks About Identity, Dignity, and Unity... That Line Is Art}}</ref> ''[[Barrioization|Barrios]]'' and ''[[Colonia (United States)|colonias]]'' (rural ''barrios'') emerged throughout [[southern California]] and elsewhere in neglected districts of cities and outlying areas with little infrastructure.<ref>{{Cite book|title=Barrio Gangs: Street Life and Identity in Southern California|last=Diego Vigil|first=James|publisher=University of Texas Press|year=1988|isbn=9780292711198|pages=[https://archive.org/details/isbn_9780292711198/page/16 16–17]|url=https://archive.org/details/isbn_9780292711198/page/16}}</ref> Alienation from public institutions made some Chicano youth susceptible to [[gang]] channels, who became drawn to their rigid hierarchical structure and assigned social roles in a world of government-sanctioned disorder.<ref name="DiegoVigil-1988">{{Cite book|title=Barrio Gangs: Street Life and Identity in Southern California|last=Diego Vigil|first=James|publisher=University of Texas Press|year=1988|isbn=9780292711198|page=[https://archive.org/details/isbn_9780292711198/page/150 150]|url=https://archive.org/details/isbn_9780292711198/page/150}}</ref>
[[File:Zoot Suit, Mexican "drape style".png|thumb|290x290px|Mexican American man in a drape style zoot suit.]]
[[Pachuco]] culture, which probably originated in the El Paso-Juarez area,<ref name=":0">{{Cite web |last=Cordova |first=Ruben C. |date=November 13, 2021 |title=Adan Hernandez Paints the Black of Night, Part I: The Birth of Chicano Noir |url=https://glasstire.com/2021/11/13/adan-hernandez-paints-the-black-of-night-part-i-the-birth-of-chicano-noir/ |access-date=March 18, 2023 |website=Glasstire |archive-date=March 18, 2023 |archive-url=https://web.archive.org/web/20230318185404/https://glasstire.com/2021/11/13/adan-hernandez-paints-the-black-of-night-part-i-the-birth-of-chicano-noir/ |url-status=live }}</ref> spread to the borderland areas of [[California]] and [[Texas]] as ''Pachuquismo'', which would eventually evolve into ''[[Chicanismo]]''. Chicano zoot suiters on the west coast were influenced by Black zoot suiters in the jazz and swing music scene on the [[East Coast of the United States|East Coast]].<ref name="FranciscoJackson-2009" /> Chicano zoot suiters developed a unique cultural identity, as noted by [[Charles "Chaz" Bojórquez]], "with their hair done in big [[Pompadour (hairstyle)|pompadours]], and "draped" in tailor-made suits, they were swinging to their own styles. They spoke ''[[Caló (Chicano)|Cálo]]'', their own language, a cool jive of half-English, half-Spanish rhythms. [...] Out of the zootsuiter experience came [[lowrider]] cars and culture, clothes, music, tag names, and, again, its own [[graffiti]] language."<ref name="Bojórquez-2019" /> San Antonio–based Chicano artist Adan Hernandez regarded pachucos as "the coolest thing to behold in fashion, manner, and speech."<ref name=":0" /> As described by artist Carlos Jackson, "Pachuco culture remains a prominent theme in Chicano art because the contemporary urban ''[[Cholo#United States|cholo]]'' culture" is seen as its heir.<ref name="FranciscoJackson-2009">{{Cite book|last=Francisco Jackson|first=Carlos|title=Chicana and Chicano Art: ProtestArte|publisher=University of Arizona Press|year=2009|isbn=9780816526475|page=135}}</ref>
[[File:Lowrider Chicago SuperShow 2010 - 4908052982.jpg|left|thumb|222x222px|Family photo with [[lowrider bicycle]]s at the Chicago SuperShow (2010)]]
Many aspects of Chicano culture like [[Lowrider|lowriding]] cars and [[Lowrider bicycle|bicycles]] have been stigmatized and policed by Anglo Americans who perceive Chicanos as "juvenile delinquents or gang members" for their embrace of nonwhite style and cultures, much as they did Pachucos.<ref name="Kun-2013" /> These negative societal perceptions of Chicanos were amplified by media outlets such as the ''[[Los Angeles Times]]''.<ref name="Kun-2013" /> Luis Alvarez remarks how negative portrayals in the media served as a tool to advocate for increased policing of Black and Brown male bodies in particular: "Popular discourse characterizing nonwhite youth as animal-like, hypersexual, and criminal marked their bodies as "other" and, when coming from city officials and the press, served to help construct for the public a social meaning of African Americans and Mexican American youth [as, in their minds, justifiably [[criminalize]]d]."<ref name="Kun-2013">{{Cite book|title=Black and Brown in Los Angeles: Beyond Conflict and Coalition|last1=Kun|first1=Josh|last2=Pulido|first2=Laura|publisher=University of California Press|year=2013|isbn=9780520275607|pages=180–181}}</ref>[[File:Industrial Fest at Encore.jpg|thumb|212x212px|Performer at Industrial Fest in [[Austin, Texas]] (2010)]]
Chicano [[rave culture]] in [[southern California]] provided a space for Chicanos to partially escape [[criminalization]] in the 1990s. Artist and archivist [[Guadalupe Rosales]] states that "a lot of teenagers were being criminalized or profiled as criminals or gangsters, so the party scene gave access for people to escape that".<ref name="Manatakis-2018">{{Cite news|last=Manatakis|first=Lexi|date=19 September 2018|title=California's 1990s Chicano rave revolution as told through archived photos|work=DAZED|url=https://www.dazeddigital.com/art-photography/article/41422/1/californias-90s-chicano-rave-revolution-archive-guadalupe-rosales-aperture|access-date=26 June 2020|archive-date=27 June 2020|archive-url=https://web.archive.org/web/20200627080444/https://www.dazeddigital.com/art-photography/article/41422/1/californias-90s-chicano-rave-revolution-archive-guadalupe-rosales-aperture|url-status=live}}</ref> Numerous party crews, such as Aztek Nation, organized events and parties would frequently take place in neighborhood backyards, particularly in [[East Los Angeles, California|East]] and [[South Los Angeles]], the surrounding valleys, and [[Orange County, California|Orange County]].<ref name="Bahloul-2019">{{Cite news|last=Bahloul|first=Maria|date=17 January 2019|title=These Photos Tell the Forgotten Story of LA's Latinx Rave Scene in the 90s|work=Vice|url=https://www.vice.com/en/article/map-pointz-guadalupe-rosales-la-latin-rave-scene-90s-interview-2019/|access-date=26 June 2020|archive-date=6 August 2020|archive-url=https://web.archive.org/web/20200806014954/https://www.vice.com/en_us/article/xwjejz/map-pointz-guadalupe-rosales-la-latin-rave-scene-90s-interview-2019|url-status=live}}</ref> By 1995, it was estimated that over 500 party crews were in existence. They laid the foundations for "an influential but oft-overlooked Latin dance subculture that offered community for Chicano ravers, [[queer]] folk, and other marginalized youth."<ref name="Bahloul-2019" /> Ravers used map points techniques to derail [[police raid]]s. Rosales states that a shift occurred around the late 1990s and increasing violence affected the Chicano party scene.<ref name="Manatakis-2018" />