Mendoza-Denton, N. (1996). ‘Muy macha’: gender and
ideology in gang girls’ discourse about makeup.
Ethnos 61 (1-2): 47-64.
Presented by Karen Cralli, Iliana Perea, Patrick
Humphries
Introduction
 Mendoza-Denton (1996) explores the role of power, femininity,
and ethnicity in the discourse of gang girls and those discourses
related to them.
 In particular, she explores Mexican gang girls (cholas) and their
use of make-up
 Norteñas: identify with chicano and U.S. culture
 Sureñas: identify with Mexican culture
The power of eyeliner
A but B
 Many feminist scholars have identified makeup as a tool of
oppression that imposes a certain femininity upon women; the
cholas, however, use makeup to express a rejection of
traditional femininity—that is, they challenge traditional gender
roles through make-up.
.
Theoretical Approach
 Performativity of gender (Turner, 1982: Butler, 1990, 1995)
 Gender is socially constructed, and is the result of the “repeated
stylization of the body within a rigid regulatory framework” (Butler,
p.???)
 The cholas “do gender” through their makeup choices and clothing
choices
 GOLDSTEIN????
 BORDO???
Methods
 Mendoza-Denton employed sociolinguistic interviews and
performed ethnographic field work for 2.5 years
 Developed personal relationships with the young women
 Worked as an academic tutor at a high school
 Population: high school-aged young women from Sor Juana
High School in Santa Clara County, CA
 Sor Juana High School:
 Urban setting, majority of students are people of color, gang
activity in the community
Space and Place
 Mendoza-Denton does not address the issue of space, but it is
fundamental to understanding chola makeup and culture
 Cholas use makeup to project an intimidating image that is
easily identifiable at a distance (a visual warning)
 Chola makeup is akin to war-paint—a visible sign of willingness to fight
 They are defenders and protectors of their own territory, which
implies the existence of a threat or a need for defense
 Their look rejects a mainstream sexualized femininity
 It is dangerous to look femininepotential (sexual) threat to women
of the community
“The Lexicon of Makeup”
Norteñas
Sureñas
Eyeliner
Pencil liner, followed
by liquid liner
Liquid liner
Lipstick/Lip liner
Dark red/Burgundy
lipstick
Brown liner (not filled
in)
Hair
Feathered; sometimes
dyed a reddish color
“Vertical ponytail”
straight pony tail with
sides gelled down;
sometimes dyed black
 Light-eyed girls often wear dark contacts
 Light-skinned girls wear dark foundation
 The cholas prize Physical strength and athleticism; heavier/curvy
bodies are idealized—leaders are often “zaftig” (p. 58)
Lexicon of Makeup, interpreted
 Chola use of makeup is a form of reappropriation; they use a tool of
traditional feminity to reject traditional feminitymakeup is used to
intimidate and establish “masculine” qualities
 Cholas maintain some aspects of a “traditionally feminine” look (e.g. long
hair).
 Long hair may symbolize Mexican heritage or identity
 Dark foundation used to emphasize Mexican heritage, where this is a point
of pride
 Dark foundation also used to cover bruises and hickies
 Eyeliner symbolizes “hardness” or willingness to fight; the longer the eyeliner,
the tougher the chola
 Chola makeup indicates group membership; cholas can tell who is and
who is not a chola by their use of makeup, and whether she is sureña or
norteña.
Cholas in their own words
 “Everybody looks at you but nobody fucks with you” (p. 57)
 (To Mendoza-Denton after she received a chola makeover):
“You’re hard. Nobody could fuck with you, you got power.
People look at you, but nobody fucks with you…I look like a
dude,¿ que no?” (p. 56)
 “When I turn on the eyeliner, when I really put it on, you know
long and shit, it makes me feel like another person, it makes me
feel tough. Just wearing the eyeliner even without the clothes
makes me feel brave.” (p. 57)
 “When I wear my eyeliner, me siento más macha, I’m ready to
fight” (p. 55)
Chola discourse
 Hard
 Brave
 Macha
 Looking in
 Dude
Conclusion
 By using the “tools of femininity” for unintended purposes, the
cholas reject traditional femininity, instead establish themselves
as powerful and intimidating figures.
 Eyeliner length and lipstick/lipliner choice communicate
willingness to fight, as well as group identification (norteña v.
sureña).
Criticisms/Questions/Comm
ents
 An internet search of “chola” leads to mocking images and videos (chola
halloween makeup and costume tutorials, mocking music videos and parodies).
Does this imply that society rejects women’s ability to be intimidating?
 What necessitates or motivates the chola lifestyle? Is femininity viewed as a
liability or a danger?
 Going to college, leaving their space/territory, thus no need for “Warrior” image
 Mendoza-Denton (1996) consistently refers to the cholas as “girls,” rather than
“young women.” In doing so, the cholas are rendered harmless. She represents
them as tough girls that grow out of gang life, with a sanitized image of what
gang life can mean for the cholas (by ignoring violence, pregnancy, family
tension, etc)
 Cholas within family context?
 Analysis 15 years later
Questions/Comments/Critici
sms
 Mendoza-Denton notes that as the cholas head off to college,
they adopt a more traditionally feminine look.
 Why? Does leaving the community eliminate the need for the chola
look? Does the social environment of college encourage a more
“mainstream” look?