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The Chicano movement would not have had the same amount of momentum and persistence had it not been for its prominent leader. Ruben Salazar was a very articulate Chicano, who served in Vietnam. When he came home, he saw the injustices to Mexican-Americans. There were many examples of Chicano excellence, stemming from Ruben Salazar and his journalism. La Revista, a collection of poems, stories and artwork synonymous to Mexican culture. This multitude of pieces of art is the Spring 2002 issue, features Chicanos who live in Santa Cruz county, and some adolescents from the East coast. This collection was made possible by people who believed in cultural consciousness, and the fluid voices of Latino culture. Ruben Salazar was a loud voice in the
revolution. The purpose of this collection was to create a physical representation of what fighting for Chicanos meant. Thesis: Mexican literature and art provides self expression and influence to muralists because it gives representation.
Chapter eight form the book From Indians To Chicanos by Diego Vigil, talks about the intact and stable social order. There are three subtopics in this chapter the first one is the industrialism and urbanization in classes. The second one is assimilation vs acculturation and the third one is the color of the intergroup that has to do with racism. All these subtopics are important because it was what made the social classes get united or separated.
When Spaniards colonized California, they invaded the native Indians with foreign worldviews, weapons, and diseases. The distinct regional culture that resulted from this union in turn found itself invaded by Anglo-Americans with their peculiar social, legal, and economic ideals. Claiming that differences among these cultures could not be reconciled, Douglas Monroy traces the historical interaction among them in Thrown Among Strangers: The Making of Mexican Culture in Frontier California. Beginning with the missions and ending in the late 1800s, he employs relations of production and labor demands as a framework to explain the domination of some groups and the decay of others and concludes with the notion that ?California would have been, and would be today, a different place indeed if people had done more of their own work.?(276) While this supposition may be true, its economic determinism undermines other important factors on which he eloquently elaborates, such as religion and law. Ironically, in his description of native Californian culture, Monroy becomes victim of the same creation of the ?other? for which he chastises Spanish and Anglo cultures. His unconvincing arguments about Indian life and his reductive adherence to labor analysis ultimately detract from his work; however, he successfully provokes the reader to explore the complexities and contradictions of a particular historical era.
Many Mexicans immigrated to the United States throughout the 1920’s forming their own communities like East Los Angeles. Throughout the years, they overcame hardships like segregation, bad stereotypes, etc. They created a movement for civil rights, where their culture began to flourish around the country, known as the Chicano Movement. One big contributor to the Chicano Movement is Cheech Marin. “Being a Chicano in Hollywood, my experience is that you're not given credit for any sophistication... You're just kind of some guy that just crossed the border, you know, on the back of a truck and that's it (Cheech Marin).” Cheech Marin has brought many talents to the Chicano community from the 1970’s to now. He is an author, actor, director, writer, and art collector. His most famous works include the famous comedy duo Cheech and Chong, his solo film Born in East L.A., and his wide-range collection of Chicano art.
Cinco de Mayo is usually confused with Mexican Independence day but that day is when Mexico fought French invaders. During 1910, Mexico revolted against its repressive rulers and adapted its new constitution. They came up with the term for those who were told in Mexico they weren’t Mexican and in America who weren’t American. They wanted to belong to both. While the Civil Rights movement is mostly known to give African-American rights but, Chicanos also fought for their rights. The term Chicano first became accepted during the Chicano Movement. Thus, Chicanos have many things to be proud of. Their Aztec ancestors were intelligent people who built a city on water and made all Chicanos royalty. Along with their Mexican ancestors won two revolutions and won against the huge French army. Trinidad Sanchez Jr., a poet, wrote about Chicano pride in his poem, “Why Am I so Brown?” Sanchez wrote the poem in order to call attention to that all should be proud of their skin color. His poem talks about Chicanos having honor in their skin color by using imagery, metaphors, and
The first article I have chosen is, “Juncture in the road: Chicano Studies Since: “El plan de Santa Barbara” by Ignacio M. Garcia. I have chosen this particular article for various reasons. One is because reading the first few paragraphs of the article stirred up many emotions within me. I found myself growing angry and once, again, repulsed by the United States discrimination system. The more knowledge I obtain on the United States, on its past and how it develops today, I can finally say that I resent everything it stands for and embarrassed being part of it. I would rather say that I am a country of one…myself. The second reason for choosing this article, was because it was an easy read for me as well as the topic being discussed was intriguing.
In Pocho, Rubio could not identify with any group because he didn’t want to be categorized. In fact, Rubio didn’t have a hard time fitting in with the Pachucos or queers. Although, Rubio seemed understanding about other peoples chooses he ultimately decided to identify as American. This was seen when Rubio joined the Army, as a means to escape his reality. Another theme presented was in regards to fighting social inequalities. This ultimately led to Chicano protest, which became essential to the Civil Rights Movements. The strong will of these Chicano/a activists were similar to Rodolfo “Corky” Gonzalez and his “Crusade for Justice”. The film “Quest for Homeland” acknowledged Gonzalez as an important figure for the Chicano Movement because he inspired people to demand for equality. Even though the Chicano Movement had a tragic ending with the death of Ruben Salazar, Chicanos made their voices heard. Similarly, the Chicano walkouts were the beginning of “consciousness”. For instance Castro mentions, “Chicano’s have long been sleeping giants” he continues by stating looks like we woke up”. This shows that students living in these areas were oblivious to their ability of obtaining a higher
What exactly does Aztlan mean? There are various definitions, such as the ancestral homeland of the Aztec people and their descendants or everyone’s individual Aztlan which is ones’ personal sanctuary. A place one creates in their own image consisting of features that show what kind of person they are, while at the same time still recognizing their ethnic culture. We all have this place though not everyone’s is the same. Your hobbies, interests, the way you dress all make up this special place. Without it, we would be metaphorically lost. For example, in the essay “Refiguring Aztlan”, it says, “Through Aztlan we come to better understand psychological time, regional make up, and evolution. Without any one of these ingredients, we would be contempo-rary displaced nomads, suffering the diaspora in our own land, and at the mercy of other social forces. Aztlan allows us to come full circle with our communal background as well as maintain ourselves as
this issue of discrimination, and I agree with all of his various claims about insiders and
...n, Gonzalez states his identity; "I am Aztec Prince and Christian Christ." This combination of culture is the basis of his poem, which can be found at http://www.pbs.org/chicano/joaquin.html, and is representative of the heritage of Mexican Americans. The concept of Aztlan is explained in Chicano!, and the mural ‘Corazon de Aztlan,’ found in Chicano Park (http://chicanopark.org/murals/north/n8.html ), reinforces the importance of this image in the lives of Chicanos. The myth of Aztlan symbolizes centuries of culture and struggles of Mexican Americans who went through incredibly difficult times throughout history, but never lost hope and always stayed strong, determined to one day be treated equally as citizens of the United States of America.
Torres, Hector Avalos. 2007. Conversations with Contemporary Chicana and Chicano Writers. U.S.: University of New Mexico press, 315-324.
Although it is desirable to incorporate personal experiences of others to get a feel of the encounters that occurred to the typical or atypical individual within the Chicano movement, this does not entirely mean that the filmmakers left out those who studied the history of it. Historian Mario T. Garcia was a prominent addition in contributing to the historical experiences within the movement and brings in credibility. The concept of utilizing Chicanos who endured the reign of oppression and discussed their involvements to the impartiality efforts was a thrilling and clever one, there was still a need of a backbone in the factual side of it. By introducing an essence of experience, it generates a personal and emotional aspect in the documentary that can be unfavorable and stray from the informative attitude of a documentary. Having Garcia apart of the documentary grounds this enlightening dimension that insights as preventative measure which is an adept move on behalf of directors Luis Ortiz and Antonio
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).
The Chicano Movement, like many other civil rights movements, gained motivation from the everyday struggles that the people had to endure in the United States due to society. Mexican-Americans, like many other ethnicities, were viewed as an inferior group compared to white Americans. Mexican-Americans sought to make a change with the Chicano Movement and “the energy generated by the movement focused national attention on the needs of Mexican-Americans” (Bloom 65). The Mexican-American Movement had four main issues that it aimed to resolve and they ranged from “restoration of la...
Again we would see the celebration of Dia De Los Muertos. In the 1970s, Self Help helped encourage the art that participated. It helped bring to community together and create large ensemble of art, parades, and festivals revolving around in the Chicano community.
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).