Racial Microaggressions: Using Critical Race Theory to Respond to Everyday Racism by Daniel G. Solórzano & Lindsay Pérez Huber

Author:Daniel G. Solórzano & Lindsay Pérez Huber [Solórzano, Daniel G. & Huber, Lindsay Pérez]
Language: eng
Format: epub
Tags: education, Multicultural Education, Social Science, Discrimination & Race Relations, Urban
ISBN: 9780807779095
Google: 9-H_DwAAQBAJ
Publisher: Teachers College Press
Published: 2020-11-15T00:11:58.723523+00:00

Figure 4.2. Gordon Parks, “Untitled, Harlem, NY, 1947”

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Photograph by Gordon Parks. Courtesy of and copyright The Gordon Parks Foundation.

INTERNALIZED RACIST NATIVISM: EL TEATRO CAMPESINO’S “EL CORRIDO”

In Chapter 3 we defined racist nativism. In this section we use the concept of racist nativism to show how People of Color can internalize the racist and xenophobic beliefs that define perceptions of U.S. belonging. We use Figure 4.3 to argue that white supremacy is the overarching ideology and related structures that subordinates People of Color generally and Immigrants of Color in particular. Within that overarching frame, institutionalized racist nativism creates racial hierarchies, with the native (i.e., white) on top and the perceived immigrant on the bottom. People of Color then internalize those racial hierarchies in the form of racist nativism. Internalized racist nativism re-creates those racial hierarchies within People of Color, or, in this case, between citizens and noncitizens. This leads to intragroup conflict, which in turn reinforces institutionalized racist nativism.

The following example of internalized racist nativism is borrowed from a 1976 play called El Corrido (Ballad of a Farmworker) (Teatro Campesino, 1976). The play was written by Luis Valdez and performed by El Teatro Campesino. The overall plot line for El Corrido6 highlights the migration journey of the allegorical figure Jesus Pelado Rasquachi from a village in central Mexico to the agricultural communities of the United States, to the end of his life in an urban community in California. In this tale, Valdez explores how Mexican migrants are controlled by poverty in both Mexico and in the United States, and how the state controls their daily lives, the power of agribusiness, and the social borders embedded in institutional and everyday racism and racist nativism. The play also uses the trope of hierarchies. For instance, the Patron (owner) is always on top, followed by the Patroncito (Mexican labor contractor), and, at the bottom, the Pelado (worker).

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