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Heritage Discussion
Chicano Artistic Expressions The Chicano Art movement is the attempts that are made by a Mexican- American artist who formulated a unique artistic identity in the US. Most of the art pieces are influenced by the Chicano movement that began in the late 1960s. This art was mostly influenced by the ideologies of the post-Mexican revolution and the pre-Columbian art, it was accompanied by the European printing technologies and the Mexican- American political, cultural as well as social issues.
This movement basically worked for the resistance to the challenges against the dominant social norms and categorizes for cultural independence and self-determination. Some of the main focused issues with the movement were; an awareness of collective history and culture, restoration of lands, equal freedom and opportunities for social living (Tatum). During and beyond the movement, Chicanos use the art to express the cultural values they own. It was done for the aesthetic values. This art evolved with the passage of time and not only defined the cultural struggles, but also the
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In writing this evolving story 3 major points served as a preamble. This cultural production is not the actual results of the new awareness, rather, is imposed by the European imaginaries during the time of Spanish exploration and colonization in the sixteenth century. Moreover, this presented art was a heterogeneous mixture of many communities that invade in the region and have never been monumental. Another important aspect is that the Latino Art and the related culture are dynamic and mutable. The art has expressed from of the immigrants and intersect across various styles and susceptibilities. In short, this art is not depicting the actual form of Chicano cultural values
There are many things in life that can help get a point across, but nothing can quite compare to the way art does. Art can display so many emotions, stories, and an overall feelings with nothing but a simple picture. George Lopez discusses art and how it imitates real life. This statement can sometimes be true, to a certain extent. Through art, there are so many expressions and feelings to be heard. Art can say a lot without saying anything at all. Typically, art likes to lean toward an extreme for every genre. Like discussed in the documentary “George Lopez: Brown is the New Green”, George Lopez brings up the point that he believes the establishment should change its marketing technique toward Latinos, so that it has a more of a realistic
Have you ever disobeyed your families culture? Or ever wanted to forget about something in your past culture? It’s not always easy, to follow traditions, sometimes you want to create or change your lifestyle.In the poem ‘’El Olvido’’ by Judith Ortiz Cofer and ‘’Life In The Age Of The Mimis’’ by Domingo Martinez. The authors of these texts indicate the idea that trying to hide your cultures identity is defiance against your heritage.
The art represented more than just sculpture. The art represented the social issue of racism by not having “black art” in a “white museum”. History shows us that black or African-American people have had a hard time fitting into this society because of the older days were black people were considered to be inferior to the “white
The Chicano Movement was a time that pressed forth for the equal opportunity of the Latino community and proved to America that Mexican Americans were a force to be reckoned with. In the documentary Latino Americans – Episode 5: Prejudice and Pride, it centralizes on the success of the oppressed community through significant leaders in that period. Union activists César Chavez, along with Dolores Huerta, playwright Luis Valdez, teacher Sal Castro, US Congressman Herman Ballido, and political activist José Ángel Gutiérrez all contributed to egalitarianism of Latinos across the nation. This documentary reflects on the importance of equal prospects within the workplace, the academic setting, and the social and political features in society.
Imagine seeing 10,000 of your classmates walking out of your school because they wanted a better education - a better way of life. In the 1960s’ Chicano students were being “pushed out”(Esparza) of school or being pushed towards vocational programs. East L.A was home to schools were “one out of every four Chicano’s completed high school”(Esparza). Instructors and the school board alike did not have an interest in helping Chicanos finish school to become someone other than a laborer and was expected of them to keep being a laborer. In “Taking Back the Schools”, Sal Castro a high school counselor claims, “I think the bottom line is the lack of concern of the teachers towards the kids and whether the kids were really getting an education or not...the reality set in that the teachers weren’t really concern for the kids.”(Esparza).
Each and every day is hard to live through since whatever that can happen to my family absolutely terrifies me. Being a Chicana in the late 1960s hasn’t been a bed of rose petals, but I’m seizing every opportunity America will grant me. One of the biggest challenges is arriving home one day and my family is no longer there and they’re deported back to Mexico. Another huge obstacle is discrimination, we’re often called demeaning terms by complete strangers and it’s difficult to understand why or how they could be so cruel to someone they don’t know. It’s been tough to also learn a whole new language than the one I had been accustomed to. English is difficult with their pronunciations and strange spelling
A significant part in being Chicano is embracing your roots and fighting for your rights. Chicano culture was at its peak in the 60’s and 70’s when Chicanos were exhausted of being oppressed. Chicanos young and old, decided that it was time to take a stand by not only expressing their feelings but their pride. This inspired the rise in Chicano art coming out at that time as well as a bunch of sayings going around like “Brown pride” and “We didn’t cross the border, the border crossed us”. Most of my mom’s side identify as Chicano, especially the ones that were growing up at that time. They appreciate the movement, the art, and the lifestyle. In fact, I know that at least one of my tias participated in the school walkouts for Chicano rights. When I’m at a family party, I still notice that Chicano pride even in my older cousins who were born years after the peak. I understand that to some, Chicanos are perceived as cholos. There are some but not all, but all the older ones do show off their pride as I’ve seen.
Torres, Hector Avalos. 2007. Conversations with Contemporary Chicana and Chicano Writers. U.S.: University of New Mexico press, 315-324.
The struggle to find a place inside an un-welcoming America has forced the Latino to recreate one. The Latino feels out of place, torn from the womb inside of America's reality because she would rather use it than know it (Paz 226-227). In response, the Mexican women planted the seeds of home inside the corral*. These tended and potted plants became her burrow of solace and place of acceptance. In the comfort of the suns slices and underneath the orange scents, the women were free. Still the questions pounded in the rhythm of street side whispers. The outside stare thundered in pulses, you are different it said. Instead of listening she tried to instill within her children the pride of language, song, and culture. Her roots weave soul into the stubborn soil and strength grew with each blossom of the fig tree (Goldsmith).
Chicano art played a major role in Latin America’s social, political, and cultural movement known as “El movimiento.” This movement consisted of social commentary and expression through various forms. Following the lead of chicano activists like Cesar Chavez and Dolores Huerta, “El Movimiento” focused on workers rights reforms, and educational reform. This was displayed through peaceful protests including walkouts and sit ins such as those that took place in Denver and East LA in 1968, as a protest that challenged the educational quality and the two-dimensional material they were being exposed to. https://www.marxists.org/history/erol/ncm-1a/cores-crusade.htm
“As long as Latino kills Latino… we’ll always be little people,” stated Ernesto Quinonez. This statement comments on the integration of society within an individual’s identity and it’s long lasting effects. The perception of who we are behind closed doors and who we are in public greatly influences our state of mind and our internal well-being. Throughout Quinonez’s Bodega Dreams, the reader can clearly see how one’s traditional culture and perception of private vs. public image is valued amongst the characters. At times, the reader may notice an internal struggle within multiple characters. The thought of going against what may be considered “normal” can be quite nerve-racking for
In Sacramento, California an artistic cultural movement initially named the Rebel Chicano Art Front (RCAF) was founded to generate a sense of pride of indigenous culture during the Chicano Civil Rights Movement. The Rebel Chicano Art Front was created in 1969 by José Montoya and Esteban Villa. Villa and Montoya were originally part of a group called the Mexican American Liberation Art Front (MALA-F). The Rebel Chicano Art front name was a tribute to the previous MALA-F which they adopted their ideas from. Present in their work is a combination of blended Mexican, Indian, and American cultures. Their acronym caused a lot of confusion due to it being the same as the Royal Canadian Air force; in good humor they instead adopted their final name
The Mexican muralist movement was an era within art where revolutionary art became part of official culture. While muralism has a vast history, which can date all the way back to ancient cave paintings, the most significant or relevant works in relation to modern society were created during the Mexican muralist movement. The movement occurred after the Mexican revolution in the 1920s and featured a few leading pioneers, Diego Rivera, David Alfaro Siqueiros and José Clemente Orozco. Mexican muralists intended to create dialogue to unite a divided nation through social and political imagery and citizens of all classes would live with these murals and contemplate them regularly, becoming tradition.
The Chicano history is a history of transformation based on conquest and struggle under a racial hierarchy. The Anglo-Americans’ intentions of creation of this racial foundation and segregating culture was to justify their act of assigning socio-economic functions to Mexican-Americans, limiting them to a cycle of exploitation and poverty. The meaning behind the contradiction of double aims was identified in El Plan de Santa Barbara’s manifesto and Menchaca’s Recovering History, which emphasized the neglect and distortion of Mexican-American history as a political act by Anglo-Americans to generate a negative, inferior image of these minorities, in comparison to their progressive “American” culture. This ultimately kept the two cultures unreconciled,
The pop art movement is an artistic movement that began in the mid 1950s to early 1970s, reaching its peak in the 1960s. Pop art began in New York by artists Andy Warhol, Roy Lichtenstein, James Rosenquist, and Claes Oldenburg.