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Coyolxauhqui The patriarchal take on the story of Coyolxauhqui, the one adorned with bells, daughter of Coatlicue, tells us she led her 400 brothers in an attempt to murder her mother, in an honor killing once she found out she was pregnant without a man. This story was told to exalt Huitzilopochtli, the baby Coatlicue was pregnant with and who suddenly sprung out of his mother's womb as an adult, killing Coyolxauqui and throwing her downhill tearing her body into pieces along the way. Her defeat represented the triumph of patriarchy and a bellicose-formed government for the Mexica. We are taught by the texts and information written and “rescued” by Spanish settlers that the representation of Coyolxauhqui as a seductress adorned with bells is meant to claim that the representation of female ornamentation in a negative way predated the arrival of the Spanish settlers. For many years, the story of Coyolxauhqui came to represent our existence as fragmentary creatures, condemned to live our lives in pieces. This as a legacy of colonization and the current struggle with settler colonial institutions that result in the forced exodus of migrants into the empire of the United States, where once again, they are forced to live incomplete lives as undocumented and marginal individuals with no identification, access to health care, or a descent humane way of life. It is in the experience of the Xicanx identity that Queer Chicana feminist scholars rewrite our understanding of Coyolxauhqui through the Coyolxauqui imperative: "Coyolxauhqui is my symbol for the necessary process of dismemberment and fragmentation, of seeing that self or the situations you’re embroiled in differently. It is also my symbol for reconstruction and re-framing, one that allows for putting the pieces together in a new way. The Coyolxauhqui imperative is an ongoing process of making and unmaking. There is never any resolution, just the process of healing" (Anzaldua, 2015, p.122). Coyolxauhqui as a predecessor of Malinche, represents the hidden powers of the feminine, albeit made invisible by machismo and racism through colonialism and imperialism. Invisible not due to originating from a “weaker sex” but from having to exist within an unjust and hierarchical power struggle where hiding and codifiying becomes a form of resistance, a stroke of genius that can only be deciphered by those illuminated by conocimiento or knowledge and understanding of the multiplicity of sides involving a story. In this case it is imperative to retell the story of Malinalli (aka. Malinche), as a retelling of the mythopoetics of womanhood within the contexts of coloniality. ARTISTIC STATEMENT Materials and media For this piece I have used Tilt Brush in VR and I have designed a virtual world composed of multiple dialogues (Visual-Audio-Theory). Visually there is a trialogue between i) pieces of my own analogue paintings and drawings, ii) my digital interventions on excerpts of Mexican murals depicting prehispanic Mexico and the conquest of the Americas (contesting their patriarchal lens), and finally, iii) digitized pictographic excerpts taken from original indigenous texts known as codices. The audio is a trialogue between digital contemporary music by The Man in the Bottle, the rhythm of Juan Carlos Portillo playing the Teponaztli, and sound effects to recreate the experience of identity in the liminal space of Nepantla. Theoretically there is a dialogue between historical representations of the mythopoetics of womanhood in the Americas, Xicanx queer feminist, and my own cosmovision as a Xicanx artist from the Tijuana border, who is also a scholar but who looks to embrace research and the presentation of knowledge production in new and exciting ways. Finally, there are the multiple possible dialogues between the users and the piece itself depending on the audio that will finally accompany the experience. I hope that within any contradictions found in the above experience, this reinforces the importance and value of the Coyolxauhqui imperative and the freedom of diversity and inclusion in terms of identity-based experience and exchange. Drawing from the context, concepts, and subject matter explained in the above section, I have created a spiral path bordered by maguey plants to guide the spectator into a path that will showcase the repetitive and parallel experiences of womanhood in the context of coloniality. I exhibit recurrent forms of visual symbolism, through colors, shapes, signs, and language found in mainly, Mexica-Tenochca (aka. Aztec) codices. For example in the look of the maguey plant, the water, blood, conch shells, and the elements like Tlazolteotl’s nose ring, her coat of arms, and feathers represent Tlazolteotl, Cihuacoatl, and Coyolxauhqui simultaneously. The little red and white eyes above represent the stars, old Aztec codices would represent the stars in this way because a star's twinkle resembles a blinking eye. Ultimately, this piece is the immersive experience of Gloria Anzalduas writing found in "The Coyolxauhqui Imperative" with the purpose of producing a retelling through immersion in the fragmentary and fluid history of the mythopoetics of womanhood through an Indigenous, Border, Xicanx feminist perspective. Through this virtual specter of the imagination, I recover once fragmentary pieces taken from art expressions representing the three archetypes (Malinche, Llorona, Chingada) to reconstruct and re-frame our histories in an experimental way that will incite the imagination to allow users to explore and put the pieces together in new ways; ways I as designer and producer of the piece have not even imagined. There is no resolution, just the process of healing through an audio visual experience. The level of healing depends on the knowledge that the user has of the images and visuals represented. This knowledge needs not be cognitive, as spiritual knowledge is evoked by the immersive nature of this experience.

Coyolxauhqui The patriarchal take on the story of Coyolxauhqui, the one adorned with bells, daughter of Coatlicue, tells us she led her 400 brothers in an attempt to murder her mother, in an honor killing once she found out she was pregnant without a man. This story was told to exalt Huitzilopochtli, the baby Coatlicue was pregnant with and who suddenly sprung out of his mother's womb as an adult, killing Coyolxauqui and throwing her downhill tearing her body into pieces along the way. Her defeat represented the triumph of patriarchy and a bellicose-formed government for the Mexica. We are taught by the texts and information written and “rescued” by Spanish settlers that the representation of Coyolxauhqui as a seductress adorned with bells is meant to claim that the representation of female ornamentation in a negative way predated the arrival of the Spanish settlers. For many years, the story of Coyolxauhqui came to represent our existence as fragmentary creatures, condemned to live our lives in pieces. This as a legacy of colonization and the current struggle with settler colonial institutions that result in the forced exodus of migrants into the empire of the United States, where once again, they are forced to live incomplete lives as undocumented and marginal individuals with no identification, access to health care, or a descent humane way of life. It is in the experience of the Xicanx identity that Queer Chicana feminist scholars rewrite our understanding of Coyolxauhqui through the Coyolxauqui imperative: "Coyolxauhqui is my symbol for the necessary process of dismemberment and fragmentation, of seeing that self or the situations you’re embroiled in differently. It is also my symbol for reconstruction and re-framing, one that allows for putting the pieces together in a new way. The Coyolxauhqui imperative is an ongoing process of making and unmaking. There is never any resolution, just the process of healing" (Anzaldua, 2015, p.122). Coyolxauhqui as a predecessor of Malinche, represents the hidden powers of the feminine, albeit made invisible by machismo and racism through colonialism and imperialism. Invisible not due to originating from a “weaker sex” but from having to exist within an unjust and hierarchical power struggle where hiding and codifiying becomes a form of resistance, a stroke of genius that can only be deciphered by those illuminated by conocimiento or knowledge and understanding of the multiplicity of sides involving a story. In this case it is imperative to retell the story of Malinalli (aka. Malinche), as a retelling of the mythopoetics of womanhood within the contexts of coloniality. ARTISTIC STATEMENT Materials and media For this piece I have used Tilt Brush in VR and I have designed a virtual world composed of multiple dialogues (Visual-Audio-Theory). Visually there is a trialogue between i) pieces of my own analogue paintings and drawings, ii) my digital interventions on excerpts of Mexican murals depicting prehispanic Mexico and the conquest of the Americas (contesting their patriarchal lens), and finally, iii) digitized pictographic excerpts taken from original indigenous texts known as codices. The audio is a trialogue between digital contemporary music by The Man in the Bottle, the rhythm of Juan Carlos Portillo playing the Teponaztli, and sound effects to recreate the experience of identity in the liminal space of Nepantla. Theoretically there is a dialogue between historical representations of the mythopoetics of womanhood in the Americas, Xicanx queer feminist, and my own cosmovision as a Xicanx artist from the Tijuana border, who is also a scholar but who looks to embrace research and the presentation of knowledge production in new and exciting ways. Finally, there are the multiple possible dialogues between the users and the piece itself depending on the audio that will finally accompany the experience. I hope that within any contradictions found in the above experience, this reinforces the importance and value of the Coyolxauhqui imperative and the freedom of diversity and inclusion in terms of identity-based experience and exchange. Drawing from the context, concepts, and subject matter explained in the above section, I have created a spiral path bordered by maguey plants to guide the spectator into a path that will showcase the repetitive and parallel experiences of womanhood in the context of coloniality. I exhibit recurrent forms of visual symbolism, through colors, shapes, signs, and language found in mainly, Mexica-Tenochca (aka. Aztec) codices. For example in the look of the maguey plant, the water, blood, conch shells, and the elements like Tlazolteotl’s nose ring, her coat of arms, and feathers represent Tlazolteotl, Cihuacoatl, and Coyolxauhqui simultaneously. The little red and white eyes above represent the stars, old Aztec codices would represent the stars in this way because a star's twinkle resembles a blinking eye. Ultimately, this piece is the immersive experience of Gloria Anzalduas writing found in "The Coyolxauhqui Imperative" with the purpose of producing a retelling through immersion in the fragmentary and fluid history of the mythopoetics of womanhood through an Indigenous, Border, Xicanx feminist perspective. Through this virtual specter of the imagination, I recover once fragmentary pieces taken from art expressions representing the three archetypes (Malinche, Llorona, Chingada) to reconstruct and re-frame our histories in an experimental way that will incite the imagination to allow users to explore and put the pieces together in new ways; ways I as designer and producer of the piece have not even imagined. There is no resolution, just the process of healing through an audio visual experience. The level of healing depends on the knowledge that the user has of the images and visuals represented. This knowledge needs not be cognitive, as spiritual knowledge is evoked by the immersive nature of this experience.