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US Latinx Activism and Protests: From the Farm to the (Legislative) Table Art produced during the Chicanx Movement Abstract: In the midst of change, The Chicanx Movement was a monumental time for Mexican Americans in the United States during the late 1960s. The movement addressed the social, economic, and political inequalities experienced by Mexican Americans across the nation. Aimed to celebrate and acknowledge cultural pride and identity, the movement also sought to reclaim and celebrate Mexican and Mexican American history, art, and culture. The Chicanx Movement played a significant role in shaping the Latino identity and influencing subsequent social justice movements, and the artwork produced during this time allowed for many to voice their opinions on the political and social climate of the U.S during the time. LA Demonstrations During the Chicano Movement Abstract: The Chicano Movement was a movement that involved Mexican-Americans all over the United States and was a crucial component to establishing civil rights for Latinos. While Chicanos living in the United States were at the focal point of discrimination in society, they figured that it was best to come together and establish a sense of familiarity in order to combat these racial remarks and disadvantages. To spark attention to their cause and movement, many Chicanos participated in numerous demonstrations and while many were peaceful, many considered them as radical. By Steve, Lexi, and Ricardo Bracero Program In this project we will be analyzing a number of facets of the Bracero Program with a specific focus on the causes, on both sides of the border, which culminated in the agreement. Consequently, we will explore the historical context of the US and Mexico of the first half of the twentieth century, including the impact of the Mexican Revolution as well as the dire situation brought about by the second world war. By utilizing this basis we will then analyze the “migration aspect” entailed by the program, travel from Mexico to the US and various territories. Not only as an in depth look at the agreement, but also as a necessary foundation. One which will permit the Bracero Program to be positioned in history, while simultaneously deepening the exposition and understanding of a largely forgotten case of large-scale abuse and exploitation. We anticipate this will form the backbone of the examination of bracero experiences: first-hand accounts and testimonials.. By Fernando, Joy and Lizeth Guatemalan Genocide & Its Dark Truth This page will focus on the Guatemalan genocide, a period of brutal violence that brought tremendous adversity to those indigenous communities residing in the rural areas of Guatemala. It will provide details regarding the atrocities that the Mayan people experienced, the trauma that was left behind, and the hardships that they continue to face today. Furthermore, it will demonstrate how this heinous period of history fostered activism and social movements in Guatemala. By Paola Chavarria and & Aurora Nieves Chicano Farm Worker Movement In this project, we will be discussing about the Chicano Farm Worker Movement and how it brought change to not only farm workers but to society as a whole. We will be focused on the working conditions of farm workers prior and after the movement, notable or influential leaders, and the communities that were fueling the movement. By examining their struggles, successes, and legacy, we wanted to provide a better understanding of the process needed to advocate and bring forth social change for a marginalized group of people. Last, we wanted to remove stereotypes and other misconceptions about the movement in creating a more equitable society. Por: Justin Bui, Kristi Kang, Jenniffer Young Las "Brujas" Feministas: Magazines, Art, and Television This project intends to provide a comprehensive analysis of women's representation in different mediums such as art, television, and fanzines. In this way, the goal is to understand the gender stereotypes that women have had to overcome from a feminist perspective. Through this discussion, the hope is to amplify women's voices to promote inclusive and equitable representation in society. By Claudia Mejia, Janet Landa, Diana Andrade Walkouts and Protests in Los Angeles On our page, we will discuss the walkouts and protests that took place within schools and communities across Los Angeles. The school protests happened because Latino students wanted to see a change in the education system. Some of the changes Latino students wanted to see implemented were hiring more Chicano professors and administrators, having more Chicano Studies classes in higher education, and overall being treated better without discrimination or judgment. In the 1960s, high school students faced racism and discrimination, which included a lack of education and insufficient school buildings in comparison to those of white students in the area. Walkouts famously took place at Roosevelt High School in Los Angeles, where there was a large population of Latino students. In 1993, college students also faced a lack of Chicano education when budget cuts put the Chicano classes at UCLA at risk of being shut down. This led to a hunger strike, where UCLA students protested and ultimately helped to establish the UCLA César E. Chávez Department of Chicana/o Studies. In the years leading up to 1965, Latino and Black communities also protested because they wanted to see a change in the way they were treated. The Black community finally had enough in 1965 and the Watts Riots happened, which in the end led to positive changes in their community. By Sydney Schwinger, Vanessa Harris, Jazmin Chavez

F. K. Ferenz, with artists Dean Cornwell and David Alfaro Siqueiros at Olvera Street, Los Angeles, 1932

F. K. Ferenz (director of the Plaza Art Center), with artists Dean Cornwell and David Alfaro Siqueiros at Olvera Street. They are looking at a document, perhaps a plan. This is probably at the time that Siqueiros painted a mural at Olvera St. titled "América Tropical." David Alfaro Siqueiros was a Mexican social realist painter, best known for his large murals in fresco. His mural, América Tropical, at Olvera Street, is still in place. Dean Cornwell was a muralist and illustrator. Among his most famous works are 16 panels at the Los Angeles Public Library depicting a pageant of California history.

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David Alfaro Siqueiros: Social Realist Painter Abstract: Social realist painter and muralist, David Siqueiros is recognized for his large public murals. Recognized as one of the most famous of the "Mexican muralists", Siqueiros's artwork often carried strong political and social messages, depicting themes of social justice, revolution, and the struggles of the working class. His passion for social activism and artistic expression made him a significant figure not only in the art world but also in the broader context of political and cultural movements of his time. One of the most notable muralists known during the Chicanx art movement is David Alfaro Siquieros. This social realist painter and muralist, most famously recognized for his large public murals, Siqueiros is known as one of the most famous of the "Mexican muralists". Siqueiros painted dynamic images of revolution and human struggle. His accentuation/emphasis of the human body was meant to show the strength of the working class and often used symbols from the natural world to evoke broader political and social themes. Siqueiros's artwork often carried strong political and social messages, depicting themes of social justice, revolution, and the struggles of the working class. His passion for social activism and artistic expression made him a significant figure not only in the art world but also in the broader context of political and cultural movements of his time. His most popular mural pictured above, America Tropical, is one of his most popular murals, as its significance over time has grown, drawing discussion from many of its observers.

To briefly summarize the revolutionary life of David Alfaro Siquieros, it is important to recognize his intent and motivations. In this Youtube video pictured aside, Siqueiros highlights his reasoning for creating his vast murals. The video quotes, “Quiero que el tema no sea solamente la marcha de la humanidad en México, si no la marcha de la humanidad en toda América Latina en particular / I want the topic not only to be the march of humanity in Mexico, but the march of humanity in all of Latin America in particular” (David Alfaro Siqueiros).

In order to promote Olvera Street in Los Angeles, CA in the 1930s, David Alfaro Siqueiros was invited to paint a mural with the intention to be the embodiment of an idealized painting, however he did the opposite. Siqueiros instead, painting a radical mural. At the America Tropical Interpretive Center in Los Angeles, CA, there is a direct quotation from Siqueiros himself, “I believe. I have done something interesting here. I have initiated a movement of outdoor murals that I judge to be very serious - murals under the sun, under the rain, facing the street. If one muses over this, one recognizes…. the basis of art of the future that [will] be public to its fullest extent” - David Alfaro Siqueiros (1932), writing after his deportation from the United States.

As depicted aside, this image includes F. K. Ferenz, with artists Dean Cornwell and David Alfaro Siqueiros at Olvera Street in Los Angeles in 1932. Siqueiros faced many criticisms surrounding América Tropical after it was unveiled on October 9th, 1932. The image shocked many. A consequence of this was The U.S. Department of Labor’s Immigration Service requesting his immediate departure from the United States. América Tropical held a big significance about imperialism and the lives of Latine peoples during the time. The mural reflects the oppression and exploitation of Latine people by the United States, and the controversy surrounding it reflects the ongoing struggles of marginalized communities for visibility and recognition. This mural is noted as a mural too powerful to be hidden.
Pictured above, a rendered image of América Tropical is depicted. As mentioned previously, Siqueiros was commissioned to paint a romanticized version of Mexico, however ironic enough, business owners from the area at that time described it as scandalous, heinous, or atrocious. Siqueros truly believed art had the power to change the world and change the perception of everything we know. América Tropical is a depiction of how art during the Chicano movement was used to empower Chicanos and their struggles. The censorship of the mural itself can be seen as a representation of how power structures seek to silence and erase the experiences of oppressed communities. As seen, images depicting imperialism are present. Right at the center of the image, sits the image of an indigenous man being crucified on the cross, representative of Jesus Christ. It can be inferred that this is possibly a criticism of the imperialistic history of Christianity and its forced conversion on marginalized communities. Also depicted are revolutionary soldiers and Mayan ruins. Siqueiros highlights the destruction and the attempts to overlook the harm done on Indigenous communities.
Pictured below is what América Tropical looks like now. As seen, the mural is faint and holds damage from the white paint used to censor Siquieros. There have been efforts made to preserve and restore the mural, which has suffered damage over the years due to neglect and censorship. The Getty Conservation Institute completed a three-decade-long project to conserve the mural which included carefully removing the paint that was used to cover it, working to save what was left, and making it accessible to visitors once again. After the public had reacted to the mural, it was decided that it would be covered up with white paint as an attempt to cover the mural up. Many believe that the slow revelation of the original mural under the white paint over time is a prime example of how we cannot be silenced in the face of oppression. According to the Aztecs, there is a god, Huitzilopochtli, the god of the sun and war. It is said that through the power of the sun god cracked the white paint and made América Tropical visible again, symbolizing resilience in the face of discrimination and structural violence.
In addition to América Tropical, Siqueiros has other murals, two of which are located in Mexico City, Mexico at the Universidad Nacional Autónoma de México (UNAM). Both of the murals included below are located on different sides of buildings at UNAM. One titled “The People for the University. The University for the People” and the other “Mexican History or the Right for Culture”.

Seen to the left, “The People for the University. The University for the People” depicts a community of people with their arms out. The format of the mural itself is a relief, with an emphasis on the arms of the people depicted being pushed out of the mural. As mentioned previously, Siquerios’ accentuation/emphasis of the human body was meant to show the strength of the working class. The title itself being a representation of how the University is for the people and the people at the university deserve to be at the University itself. The mural in itself is a depiction of bringing a community together through muralist.

Seen to the right, “Mexican History or the Right for Culture”. Just as the mural above, the format is a relief, with an emphasis on the hands in the mural. The title references the mural itself, representing Mexican history and the right to understand the culture in it of itself. The murals at UNAM by Siquieros highlight the themes of community and communication through murals.
David Alfaro Siqueiro's works allowed for many to have a voice in times of oppression. Utilizing art as a bridge to communication with marginalized communities holds power to this day. Although América Tropical may not be available to view in its purest form, we are able to view it and understand that even in times of censorship, it remains tall and mighty. Referencing the course reading Keywords: Art by Rita Gonzalez, “Latina/o art is the shaping, iterating, and/or interrogating of the cultural expressions of one’s relationship—even if contested—to latinidad. Just as “Latina/o” and “Latin American” are heavily contested terms, so too is “Latina/o art” in that it can be used as an umbrella term to encompass diverse artistic practices from geometric abstraction to activist driven social practice art” (Gonzalez). In times of oppression, art allows us to communicate our wants and needs. Siqueiro’s contribution to the Chicanx art movement is something that should not be overlooked, as his works are prime examples of utilizing art as a form of communication.