Religion and Theology

Ester Hernandezs La Virgen de Guadalupe Defendiendo los Derechos de sol Xicanos, released in 1975, is a portrayal of the Virgin of Guadalupe breaking out of her heavenly and holy costume donning a Karatekas outfit while posed in a side-kick stance (Ester Hernandez Biography, 1).  This illustration is suggestive of the plight that Latinas have constantly struggled in their attempt to successfully assimilate with another economically more superior culturethat of the Americans.  The display of obvious wit and humor, while at the same time being blatantly accurate of her generations cause, has made this particular depiction an important tool for cause-oriented groups that had aimed at bettering the lives of the general South American population living in the United States.

While the original Virgin of Guadalupes cause was for the conversion to Christianity of pagan tribes, the curing of illnesses, and the forgiveness of sins, among others, Ester Hernandezs work is depicting of more modern causes.  Here, what the artist has expressly implied is for the modern Latinas living in the United States to break free from the accepted discriminatory standards attached to their culture by being more active in their pursuit in academic and professional undertakings.  

If there were similarities in messages imparted between the two illustrations, the original Virgin of Guadalupe and Hernandezs work, perhaps this would be the implication that the Virgin has, in more modern times, found a new people whom she has taken under her care hence during the 16th century it was the people in Mexico City, today it is the Latinas living in America.

Based on this drawing by Hernandez, it is evident that it declares women empowerment in the society.  It may be accurate to consider this in terms common in our present society, such as in equal opportunities in the academic field, equal treatment and promotion practices in industrial settings, the abolition of gender-based standards being practiced by the different sectors, and in other fields where the female sex had always suffered its share of discriminatory practices.  As gender equality has not been a privilege in all of the societies, the advocacies being presented here, then, is suggestive of the freedom that is common in a Democracy making Hernandezs work innately political in nature.  After all, whenever a particular sector fights for the betterment of their rights, politics is never an absentee participant.  This is true since such changes can only be attained by amending or introducing new legislations.

A closer examination of Hernandezs La Virgen de Guadalupe only strengthens the argument that it deals with both religion and gender-issues.  Reason being, the mere employment of the image of the Virgin Mary, especially in a culture whose majority are Catholics, facilitates a logic that it was the intention of its creator to place a religious tone to its message.  In most probability, its cause is to imbed a message of hope to the female audience, particularly the Latinas, that they are the new chosen people that are about to be saved from eternal damnation.  Secondly, the very image of the Virgin wearing a Karate outfit, and in a side-kick stance, is strongly implying of a message for the female gender to break free, struggle, or fight for the betterment of their rights, especially in their present predicament being a minority in the American society.  Through this particular drawing, simple and unassuming yet strong just like the female persona, Ester Hernandez was able to successfully relay her desired messages of gender equality and hope, even after the youth of her generation was subsequently replaced by the youth of today.