Development over 100 years
What is now the Southwestern United States, specifically Texas, has been an ambiguous conceptual region for many years. There had been traditional informal migration patterns around Northern Mexico and Texas and these continued even after the establishment, but lack of enforcement, of the formal United States-Mexico border in 1848. People of Mexican and native heritage had existed in Texas for years but the founding of the Republic of Texas and its later annexation by the United States of America did change how these citizens were perceived and it complicated their legal status.
The idea of being "Mexican-American" grew out of this division. In the United States, people previously classified as Mexican were now legally Americans, but this classification came with a structured attempt to eliminate the Mexican culture. Mexicans were discriminated against in many aspects. They were barred from holding certain jobs, forced to live in segregated areas and attend underfunded and crowded schools if there was a school available, and punished for speaking Spanish. The Mexican identity was under attack but was protected through community efforts to cultivate it. One of the ways that communities promoted Mexican culture and community identity was through theatre, especially performances in Spanish.
Spanish-language theatre performances were community building experiences which brought together people from all backgrounds. Spanish-language theatre in the United States was a tradition that dates back to times of Spanish colonization, before the first English language theatre in the country. Spanish-language theatre flourished in Mexico and in the 19th century it developed into a large industry with multiple popular troupes going on tours around the region. Many troupes in Northern Mexico branched out and performed north of the Rio Grande on their long tours. Spanish-language theatre was organized around star actors and family units, which resulted in a radically different development than early English theatre.
Immigration increased significantly after 1910 due to the start of the Mexican Civil War. The war forced an end to many of the theatre troupes' tours in Mexico and many troupes moved permanently across the border to the United States. This influx of new immigrants refreshed the Texan theatre scene. Spanish-language theatre troupes performed popular plays from all over the world. They were often based on traditional ideas, historical times, and themes which connected to a shared national past and identity. Theatre was entertainment that brought people of all backgrounds together and unified them through language and family friendly entertainment. There are few records of these companies, for varying reasons, but La Compania Villalongin is one of the few with extensive records as well as existing for an exceptionally long time.
There was an increase in migrants in other industries as well as citizens escaped the violence of the Civil War or were recruited by the promise of employment in America. Many migrants settled in the United States but others planned to return after the Mexican political situation stabilized. A large portion of the migrants began working in agriculture and many workers were recruited as the United States had a shortage. The Great Depression and Dust Bowl hit America hard. Though the Great Depression narratives historically remembered are usually about white Americans who suffered, Mexican workers were not immune. Sanora Babb was one of the photographers hired by the Farm Security Administration to record the experiences of farmworkers during this period. Her work was unique in documenting Mexican migrants' experience.
As the Spanish-speaking communities in the United States grew, they continued to use theatre to write about and share their experiences. As this exhibition will aim to show, theatre and playwriting have become a central part of 20th century and modern movements, creating stronger senses of identity through an increase in representation and narratives depicting marginalized communities in the United States. For example, the Chicano movement in the 1960's sparked increased political involvement and many people used theatre to legitimize and record their experiences in order to empower the people of their movement. A contemporary playwright continuing the legacy of the Chicano theatre movement is Silvia Gonzalez S., who still today publishes plays which center around the experiences of Mexican-American families, immigrants, Latinx culture, and struggles with identity.
Our exhibit will show that the focus on family, traditional themes and shared identity is still present today, but now there are more terms to describe the unique identity of Americans who still want to recognize their heritage and ethnic background, such as Mexican-American, Chicano, and Latinx.
Go to the next page to start at the beginning and learn about the Compania Villalongin.