ABSTRACT
This chapter examines Cherríe Moraga's use of indigenous American rituals and myths that resonates with Euripides' use of the Medea myth and his mention of the rituals associated with her in his classical drama. Moraga's plays teach the cultural history and myths must be remembered, lived, enacted, made sacred and renewed with each generation in order to ensure the future survival of a people. Moraga uses two techniques to achieve this effect in The Hungry Woman: she links her characterization to the Mechicano myths, creating an allegorical layer of meaning to the classical drama; and she introduces Mechicano traditional deities, icons, rites and ritual dance patterned on authentic models. The chapter focuses on the play's essential Xicana-Indígena perspective since it is relevant to this exploration of myth and ritual. The end of Moraga's play offers Medea a similar softening if only in her own mind: the final scene is Chac-Mool's return from apparent death.
