Mark Ralston/AFP via Getty Images
Most of the debates on the usage of “Latinx” – pronounced “la-teen-ex” – have taken place in the U.S. But the word has begun to spread into Spanish-speaking countries – where it hasn’t exactly been embraced.
In July 2022, Argentina and Spain released public statements banning the use of Latinx, or any gender-neutral variant. Both governments reasoned that these new terms are violations of the rules of the Spanish language.
Latinx is used as an individual identity for those who are gender-nonconforming, and it can also describe an entire population without using “Latinos,” which is currently the default in Spanish for a group of men and women.
As a Mexican-born, U.S.-raised scholar, I agree with the official Argentine and Spanish stance on banning Latinx from the Spanish language – English, too.
When I first heard Latinx in 2017, I thought it was progressive and inclusive, but I quickly realized how problematic it was. Five years later, Latinx is not commonly used in Spanish-speaking countries, nor is it used by the majority of those identifying as Hispanic or Latino in the U.S.
In fact, there’s a gender-inclusive term that’s already being used by Spanish-speaking activists that works as a far more natural replacement.
Low usage
Though the exact origins of Latinx are unclear, it emerged sometime around 2004 and gained popularity around 2014. Merriam-Webster added it to its dictionary in 2018.
However, a 2019 Pew research study and 2021 Gallup poll indicated that less than 5% of the U.S. population used “Latinx” as a racial or ethnic identity.
Gallup asked Hispanic respondents about their preference among the terms "Hispanic," "Latino" and "Latinx.” Results: https://t.co/LE1WRW98ah pic.twitter.com/BDh1NOn4XP
— Catherine Rampell (@crampell) August 5, 2021
Nonetheless, Latinx is becoming commonplace among academics; it’s used at conferences, in communication and especially in publications.
But is it inclusive to use Latinx when most of the population does not?
Perpetuating elitism
The distinct demographic differences of those who are aware of or use Latinx calls into question whether the term is inclusive or just elitist.
Individuals who self-identify as Latinx or are aware of the term are most likely to be U.S.-born, young adults from 18 to 29 years old. They are predominately English-speakers and have some college education. In other words, the most marginalized communities do not use Latinx.
My problem with “Latinx” isn’t using the term. It’s that many Brown communities are still culturally isolated in the US, and our expectation that they’ll just adopt it because affluent LGBTQ+ regions have is unfair and problematic. #Queer #SaturdayThoughts
— David Arias 🇬🇹🇵🇷🏳️🌈 (@darias_tweets) January 22, 2022
Scholars, in my view, should never impose social identities onto groups that do not self-identify that way.
I once had a reviewer for an academic journal article I submitted about women’s experiences with catcalling tell me to replace my use of “Latino” and “Latina” with “Latinx.” However, they had no issue with me using “man” or “woman” when it came to my white participants.
I was annoyed at the audacity of this reviewer. The goal of the study was to show catcalling, a gendered interaction, as an everyday form of sexism.
How was I supposed to differentiate my participants’ sexism experiences by gender and race if I labeled them all as Latinx?
The ‘x’ factor
If a term is truly inclusive, it gives equitable weight to vastly diverse experiences and knowledge; it is not meant to be a blanket identity.
Women of color, in general, are severely underrepresented in leadership positions and STEM fields. Using “Latinx” for women further obscures their contributions and identity. I have even seen some academics try to get around the nebulous nature of Latinx by writing “Latinx mothers” or “Latinx women” instead of “Latinas.”
Furthermore, if the goal is to be inclusive, the “x” would be easily pronounceable and naturally applied to other parts of the Spanish language.
Some Spanish speakers would rather identify by nationality – say, “Mexicano” or “Argentino” – instead of using umbrella terms like Hispanic or Latino. But the “x” can’t be easily applied to nationalities. Like Latinx, “Mexicanx” and “Argentinx” don’t exactly roll off the tongue in any language. Meanwhile, gendered articles in Spanish – “los” and “las” for the plural “the” – become “lxs,” while gendered pronouns –“el” and “ella” becomes “ellx.”
The utility and logic of it quickly falls apart.
‘Latine’ as an alternative
Many academics might feel compelled to continue to use Latinx because they fought hard to have it recognized by their institutions or have already published the term in an academic journal. But there is a much better gender-inclusive alternative, one that’s been largely overlooked by the U.S. academic community and is already being used in Spanish-speaking parts of Latin America, especially among young social activists in those countries.
It’s “Latine” – pronounced “lah-teen-eh” – and it’s far more adaptable to the Spanish language. It can be implemented as articles – “les” instead of “los” or “las,” the words for “the.” When it comes to pronouns, “elle” can become a singular form of “they” and used in place of the masculine “él” or feminine “ella,” which translate to “he” and “she.” It can also be readily applied to most nationalities, such as “Mexicane” or “Argentine.”
Because language shapes the way we think, it’s important to note that gendered languages like Spanish, German and French do facilitate gender stereotypes and discrimination. For example, in German, the word for bridge is feminine, and in Spanish, the word for bridge is masculine. Cognitive scientist Lera Boroditsky had German speakers and Spanish speakers describe a bridge. The German speakers were more likely to describe it using adjectives like “beautiful” or “elegant,” while the Spanish speakers were more likely to describe it in masculine ways – “tall” and “strong.”
Moreover, the existing gender rules in Spanish are not perfect. Usually words ending in “-o” are masculine and those ending in “-a” are feminine, but there are many common words that break those gender rules, like “la mano,” the word for “hand.” And, of course, Spanish already uses an “e” for gender-neutral words, such as “estudiante,” or “student.”
I believe Latine accomplishes what Latinx originally meant to and more. Similarly, it eliminates the gender binary in its singular and plural form. However, Latine is not confined to an elite, English-speaking population within the U.S. It is inclusive.
Nevertheless, problems can still arise when the word “Latine” is imposed onto others. “Latina” and “Latino” may still be preferable for many individuals. I don’t think the “-e” should eliminate the existing “-o” and the “-a.” Instead, it could be a grammatically acceptable addition to the Spanish language.
Yes, Argentina and Spain’s ban of Latinx also included a ban on the use of Latine. Here is where I diverge from their directive. To me, the idea that language can be purist is nonsensical; language always evolves, whether it’s through technology – think emojis and textspeak – or increased social awareness, such as the evolution from “wife beating” to “intimate partner violence.”
Linguistic theory posits that language shapes reality, so cultures and communities can create words that shape the inclusive world they want to inhabit.
Language matters. Latine embodies that inclusivity – across socioeconomic status, citizenship, education, gender identity, age groups and nations, while honoring the Spanish language in the process.
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Melissa K. Ochoa does not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and has disclosed no relevant affiliations beyond their academic appointment.
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Timeline: A brutally honest history of Latinos in Hollywood
1908: Birth of a stereotype
UpdatedBefore his Ku Klux Klan-promoting film “Birth of a Nation” (1915), D.W. Griffith codified Mexican characters and themes that persist today. The reprobate father. The saintly mother. The wayward son. And especially the “greaser,” often with white actors darkening their skin to play either thieves and rapists or doomed souls whose noble nature cannot be rewarded because they’re, well, Mexicans. Griffith’s “The Greaser’s Gauntlet” (1908) was the first to use the slur in its title.
1921: The Latin lover
UpdatedWas the first Latin lover Spanish or Italian? According to the documentary "The Bronze Screen," Spaniard Antonio Moreno establishes the type, best seen in 1923's "The Spanish Dancer."
But Hollywood immortalizes the Latin lover with Italian star Rudolph Valentino, whose reputation is set when he plays a tango-dancing Argentine in “The Four Horsemen of the Apocalypse” (1921). The film establishes a different kind of leading man with darker looks that at first makes the studio nervous. Valentino comes to hate the label.
“Horsemen” director Rex Ingram continues the type when he helps persuade Mexico-born actor Jose Ramon Gil Samaniego to change his name to Ramon Novarro and compete with Valentino in “Scaramouche” (1923).
The Latin lover trope persists through the years. As recently as 2017, Mexican actor and filmmaker Eugenio Derbez feels the need to poke the stereotype through comedy in “How to Be a Latin Lover” (2017).
1922: Mexico bans Hollywood
UpdatedPortrayals of Latinos get so bad that letters of protest are sent from the Mexican government, and even Woodrow Wilson reportedly tells Hollywood producers, “Please be a little kinder to the Mexicans.”
Mexican president Alvaro Obregon bans the import of movies from studios that denigrate his people. Honduras and Costa Rica also complain.
On Nov. 6, 1922, a representative of the Motion Picture Association (then Motion Picture Producers and Distributors of America) signs an agreement to avoid offending Mexicans and other Latin Americans. Depictions become slightly less overt.
1951: First Latino acting Oscar
UpdatedPuerto Rican Jose Ferrer becomes the first Latino to win an Academy Award for acting when he receives the lead actor Oscar for “Cyrano de Bergerac.” He earns two other nominations, for his supporting role in “Joan of Arc” (1948) and his leading role in “Moulin Rouge” (1952).
Mexico-born Anthony Quinn (aka Manuel Antonio Rodolfo Quinn Oaxaca) wins the supporting actor Oscar in 1953 for “Viva Zapata.” He wins again in 1957 for “Lust for Life” and is nominated in 1965 as lead actor in “Zorba the Greek” and in 1958 for “Wild Is the Wind.”
It takes nearly 50 years for another Latino actor to win the Oscar, when Puerto Rico-born Benicio del Toro wins in 2001 for his supporting role in “Traffic.” He is nominated again in 2003 for “21 Grams.”
1951: The Latino sitcom
UpdatedDesi Arnaz turned his Cuban nightclub singer and exasperated husband Ricky Ricardo into one of television's most iconic characters in “I Love Lucy” (1951-1957). He was credited with developing the multicam sitcom setup still used today, as well as (with Lucille Ball) the syndicated rerun.
Still, it took nearly 20 years for NBC's “Chico and the Man” (1974-1978) to arrive. The series started with good intentions as Freddie Prinze schooled Jack Albertson on the errors of his bigoted thinking. But unlike “All in the Family,” the slurs and cringe-worthy scenes overtook the show, especially after Prinze's death when Charo was made to indulge her cuchi-cuchi persona.
“¿Qué Pasa, USA?” (1977-1980), about a Cuban family adjusting to life in the U.S., became the first U.S.-made bilingual sitcom. ABC tried and failed with Paul Rodriguez's “a.k.a. Pablo” (1984, six episodes) and “Common Law” (1996, four episodes) with Greg Giraldo as a Latino lawyer. The network finally found success with “George Lopez” (2002-2007) after a push to the network by Sandra Bullock.
Other shows that have since left their mark: The CW's “Jane the Virgin” (2014-2019), the WB's “Greetings from Tucson” (2002-2003), ABC's “Cristela” (2014-2015) Netflix's “One Day at a Time” (2017-2020) and “Mr. Iglesias” (2019-present), plus Sofia Vergara's enduring Gloria on “Modern Family” (2009-2020).
1960: First Chicana Oscar nomination
UpdatedSusan Kohner is nominated for her supporting role as the daughter passing for white in Douglas Sirk's race and class drama "Imitation of Life" (1959). Kohner, born in Los Angeles, is the daughter of producer Paul Kohner and Mexico-born early sound star Lupita Tovar, famous for "Santa" (1932), the first Mexican talkie, and her performance in the Spanish-language version of "Dracula" (1931), shot on the same sets as the Bela Lugosi-starring "Dracula."
Kohner is also the mother of Chris and Paul Weitz, who together made "About a Boy" (2002), which was nominated for an adapted screenplay Oscar, and "American Pie" (1999).
1962: First Latina acting Oscar
UpdatedPuerto Rican actress Rita Moreno becomes the first Latina to win an Oscar for her supporting role in “West Side Story,” in which non-Latina Natalie Wood plays the central role of Maria.
Thirty years later, Mercedes Ruehl, who is not always counted as Latina (though her maternal grandmother was Cuban) wins the supporting actress Oscar in 1992 for “The Fisher King.” In 2009, Penelope Cruz, who is Spanish and not officially considered Latina, wins the supporting actress Oscar for “Vicky Christina Barcelona” and is nominated in 2010 for her supporting role in “Nine” and in 2007 for her lead role in “Volver.” In 2014, Lupita Nyong’o becomes the first Kenyan-Mexican to win an acting Oscar for her supporting role in “12 Years a Slave.”
1976: 150 maid roles
UpdatedEl Paso, Texas-born Lupe Ontiveros plays her first credited role on ABC's "Charlie's Angels" — as a maid. Toward the end of her career she famously says she played a maid more than 150 times, most memorably in “As Good As It Gets.”
Still, she managed to make her mark in other roles, including the mother in “Zoot Suit” and “Real Women Have Curves,” the murderous fan club president in “Selena” and the mother-in-law on “Desperate Housewives.”
Social media outcry after her 2012 death goes unmentioned during the 2013 Oscars' In Memoriam segment leads the National Hispanic Media Coalition to write an open letter to awards leadership asking why Ontiveros was denied Academy membership despite the support of Miguel Sandoval and Edward James Olmos.
1983: The drug lord
UpdatedPeak Latino drug lord is reached with Al Pacino's over-the-top performance as Cuban cocaine fiend Tony Montana in “Scarface” (1983).
The stereotype does real harm for the way society views Latinos. It also presents a conundrum for Latino actors with few other opportunities to show their dramatic chops. More conflicted feelings arise for audiences with the surplus of Spanish-language drug-themed films and telenovelas, plus popular U.S. shows such as Netflix's “Narcos,” based on the real life of Colombia's cartel boss Pablo Escobar.
It's the “Godfather” problem: Just when you think you're out of patience with the genre, they pull you back in.
1989: First Chicano Oscar nomination
UpdatedEdward James Olmos becomes the first Mexican American to earn a lead actor nomination for his role in “Stand and Deliver” about Garfield High calculus teacher Jaime Escalante. Dustin Hoffman wins the award for “Rain Man.”
Thomas Gomez, though not Latino, was born in New York to Spanish parents and is considered the first Hispanic to earn a supporting actor nomination in 1948 for “Ride the Pink Horse.”
1993: High-class whitewashing
UpdatedSix non-Latino Academy Award nominees (and three winners) — only one native Spanish speaker among them — are cast as Chileans in the film adaptation of Isabel Allende’s novel “The House of Spirits”: Meryl Streep as Clara del Valle Trueba, Glenn Close as Ferula Trueba, Jeremy Irons as Esteban Trueba, Winona Ryder as Blanca Trueba, Spain’s Antonio Banderas as Pedro Tercero Garcia and Vanessa Redgrave as Nivea del Valle. Despite its star power, the film earns mostly negative reviews.
Other notable films with Latino characters “whitewashed” by Hollywood: “Juarez” (1939, with Paul Muni as Benito Juarez and Bette Davis as Carlota), “Viva Zapata!” (1952, with Marlon Brando as Zapata), “Touch of Evil” (1958, with Charlton Heston as Ramon Vargas), “The Good, the Bad, and the Ugly” (1966, with Eli Wallach as Tuco Ramirez), “Che!” (1969, with Omar Sharif as Che and Jack Palance as Fidel Castro), “Evita” (1996, with Madonna as Evita Peron), “A Beautiful Mind” (2001, with Jennifer Connelly as John Nash’s Salvadoran wife, Alicia Nash) and “Argo” (2012, with Ben Affleck as CIA officer Tony Mendez).
2002: Elevated maid
UpdatedJennifer Lopez transforms the maid trope from character part to leading role in “Maid in Manhattan.” But the Cinderella story, with Ralph Fiennes as a Senate candidate who falls for Lopez, gets mixed reviews for its lazy use of rom-com tropes.
Nadine E. Velazquez’s role as the maid Catalina Aruca becomes a key character in “My Name Is Earl” (2005-09). When her character speaks Spanish, she breaks the fourth wall and sends messages to Spanish-speaking viewers. In 2013, Eva Longoria defends the choice to put maids at the center of Lifetime’s Marc Cherry series “Devious Maids” (2013-16), for which she was executive producer. She says the best way to break stereotypes is to not ignore them. Alfonso Cuaron casts Yalitza Aparicio as the star of “Roma” (2017), centered on the life of a domestic worker. Aparicio’s performance earns an Oscar nomination for lead actress.
2013: Rise of the Mexican director
UpdatedMexico's Alfonso Cuaron wins the directing Oscar for “Gravity” and begins an unprecedented five-year streak of wins for Mexican directors, with Alejandro Gonzalez Inarritu winning in 2014 and 2015 for “Birdman” and “The Revenant,” Guillermo del Toro in 2017 for “The Shape of Water” and Cuaron again in 2018 for “Roma.” Only “Roma” featured Latino lead characters.
2014: The Chris Rock question
UpdatedChris Rock's incendiary 2014 essay on race in The Hollywood Reporter asks a question that set off a reckoning still in progress. “Forget whether Hollywood is black enough,” he writes. “A better question is: Is Hollywood Mexican enough? You’re in L.A., you’ve got to try not to hire Mexicans. ... You’re telling me no Mexicans are qualified to do anything at a studio? Really? Nothing but mop up?”
U.S. Rep. Joaquin Castro, D-Texas, and the Congressional Hispanic Caucus take up the challenge with a series of studio meetings in 2019. The House Judiciary Committee holds a hearing on Hollywood diversity in September 2020. In October, the nonpartisan Government Accountability Office accepts the caucus' request to initiate a report on Latino representation in film, television and publishing. “Vida” creator Tanya Saracho founds the writer and showrunners group Untitled Latinx Project, which in October releases an open letter signed by 270 demanding change: “No stories about us without us.”
2018: Hot ‘Coco’
UpdatedA box-office hit that made more than $731 million worldwide, “Coco” wins two Oscars: animated feature and original song (“Remember Me”). It's an apex moment for Latino-themed animation. The film earns praise not only for its look, but for capturing Mexican traditions. Coming out not long after then-President Donald Trump dismantles the Obama-era immigration policy DACA (Deferred Action for Childhood Arrivals), it takes on an extra layer of meaning. “I am certain that Disney/Pixar did not set out to make this a political film,” Benjamin Bratt, who voices the music idol of 12-year-old Miguel, tells the LA Times, “but that is exactly what they have done.”
2021: ‘Heights’ expectations
Updated“In the Heights,” the first big-budget musical from Latino creators — Lin-Manuel Miranda and Quiara Alegria Hudes — opens to rave reviews. The question many are asking: Will more Latino blockbusters follow?
1935: ‘Bordertown’
UpdatedStarring the white Paul Muni as Mexican law school graduate Johnny Ramirez, "Bordertown" sets up East Los Angeles and Boyle Heights as the place for Hollywood's Mexican stories.
Ramirez — outmaneuvered in his law case and rejected by his love interest as a "savage" — retreats there to be with his "own people" when society won't have him.
From “Boulevard Nights” (1979) and “Born in East L.A.” (1987) to "Real Women Have Curves" (2002), "Vida" (2018) and "Gentefied" (2020), East LA and Boyle Heights are depicted as the locus of Latino identity.