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Intro -- Contents -- Acknowledgments -- Introduction: Indigeneity, the Yaqui Nation, and the Yoeme People -- 1. The Mythification of Lo Yaqui -- 2. The Warrior in Yoeme Cultural History -- 3. Tambor y Sierra: In Search of an Indigenous Revolution in MexicanLiterature -- 4. The Yoemem and the Archive: Indigenismo, Motherhood, andIndigeneity -- 5. Chicana/o-Yaqui Borderlands and Indigeneity in Alfredo Véa Jr.'sLa Maravilla -- Conclusion: The Native "Word" and Changing Indigeneities -- Notes -- Works Cited -- Index

This article traces the origins of María Elena Velasco's comic character "la India María" through what Fatimah Tobing Rony has labeled ethnographic film. It explores how Velasco's first film, Tonta, tonta, pero no tanto (dir. Fernando Cortés, Mexico, 1972), borrows conventional linguistic and performative representations from the so-called Indigenista films of Emilio "Indio" Fernández and Benito Alazraki. The essay also studies how popular discourses regarding Indigenous intelligence and the trope of illiterate Natives as "burros" coincide with the state ideologies behind comic representations of Indigenous characters.

This article discusses the discourses that guided different representations of Yaquis in twentieth-century Mexican literature to explain the continuity of these portrayals in Chicana/o literature. At the center of these discourses is a colonial Spanish-Mexican epistemology that depicts Yaquis as senselessly violent and resistant warriors: a Yaqui warrior myth. Focusing on Alfredo Véa Jr.'s La Maravilla, I explore the author's contestation of the discourses that have informed depictions of Yaquis through his recovery of Yaqui knowledge, which he accomplishes by reappropriating historical, ethnographic, and literary texts. Véa draws on Yaqui rites, dance, and origin stories to re-create the traditional link between Yaqui culture, territory, and resistance—which I call arraigamiento. He turns indigenismo chicano into a site of conflict as he relates a Yaqui account of the Chicana/o experience and elaborates the protagonist's Chicano-Yaqui identity. By juxtaposing a Yaqui epistemology and the pre-Columbian iconography of Chicano nationalism he exposes the limitations of the latter and changes the focus to living indigenous nations as a source for creating Chicana/o identity.