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US Latinx Activism and Protests: From the Farm to the (Legislative) Table Main Menu Collection Media Thumbnails Hashtag Description 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. Chicano Moratorium Examining the causes, events, and leaders of the Chicano Moratorium #chicanx #feminism #movement 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 Migration in the United States The United States has often been called a "nation of immigrants," here we observe specific instances of migration policy within the United States and how certain themes regarding immigrants have changed or been maintained. By: Zulema Arguello, Sofia Perez Valles, and Natalie Manzo-Silva 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 Young Lords Party The Young Lords Party was founded at the peak of the 1960s political and civil rights movement in the United States. With a focus on empowering Puerto Ricans while embracing other Latinx communities, the Young Lords Party sought to effect change and fight systematic oppression faced by marginalized groups. By Isha Das, Hayden Holliman, Carli Meinert & Elise Oliver 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

Videopoema: Por qué grita esa mujer

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That women must be crazy Janet Landa
Contents of this annotation:
1. Videopoema: Por qué grita esa mujer
Birds Janet Landa
Contents of this annotation:
1. Videopoema: Por qué grita esa mujer
Do you remember the woman? Janet Landa
Contents of this annotation:
1. Videopoema: Por qué grita esa mujer

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Media Thumbnails Elise Oliver
Contents of this path:
1. Anti War Demonstrators: UCLA Library Digital Collections
2. Photograph of a Young Lords Party Rally at Queens County Jail
3. Bracero Program
4. Bracero Worker in Camp
5. Cesar Chavez on March from Mexican border to Sacramento with United Farm Workers members in Redondo Beach, Calif., 1975
6. Chicano Moratorium- Chicana Power
7. Chicano Riots
8. Jailed Protesters and Rioters
9. Mecha protest in Los Angeles
10. Mexican migrant worker
11. Mural by Judith Baca
12. President Nixon's Chicano Approval Rate
13. Rally at Olvera Street
14. Roosevelt High School Walkout
15. Roosevelt High School Walkouts
16. Young Lords, Overseeing the Program
17. A Right to Justice - A Video of the Guatemalan Genocide
18. Aerial Shot of the South Central Farm (1999)
19. Aerial view of two buildings on fire on Avalon Blvd during the Watts Riots of 1965
20. Artwork made from riot debris displayed at Watts Renaissance of the Arts in 1966
21. Bracero Bus
22. Bracero shaving
23. Bracero Workers in California, 1960
24. Chicano Moratorium: A Question of Freedom (1971)
25. Braceros off to work_
26. Braceros loading their belongings onto a bus for trip home to Mexico, El Centro, 1965
27. Chicano Moratorium Committee antiwar demonstrators
28. Chicano Power
29. The Great Wall of Los Angeles
30. Conoce a "La Bestia", el tren que transporta a miles de migrantes
31. A Bulldozed South Central Farm (2006)
32. Exterior of Mechicano Art Center
33. Separation of Children at Border (cover page)
34. The victims
35. UFW logo
36. Children in Detention Centers
37. Unearthing the Truth
38. US expelled over 2.8 mn migrants under Title 42: Mexico
39. We Are Not A Minority
40. Women working in the Fields
41. Women's movement
42. Graffiti painted on a gate in the border wall at Friendship Park, in Playas de Tijuana.
43. People guarding local stores
44. Protesters in Distress (2006)
45. Chicana movement
46. Farmers Sharing Seeds (2006)
47. Separated: Children at the Border (full documentary) | FRONTLINE
48. Separated: Children at the Border (full documentary) | FRONTLINE
49. Flowers zoomed in
50. Free Barrio Clinic Signage
51. Hispanic American Veterans Share Their Experiences in Vietnam
52. America Tropical (Now)
53. An untold story
54. Chicano Farm Movement
55. Chicano Movement Art
56. David Alfaro Siqueiros: Self-Portrait (1945)
57. Dolores Huerta (2015)
58. Cindy Montanez UCLA Hunger Strike
59. Felipe Luciano Sweeping Above is a cropped portion of an image of the Young Lord's co-founder Felipe Luciano, caught sweeping garbage along a sidewalk in El Barrio, which is located in East Harlem, New York City, New York. I chose to zoom in on the broom he was using and the act of sweeping as opposed to the environment or mass change that was occurring in order to note the heavy-hands-on role each member of the YLO played in their activist initiatives.
60. Gallo Wine (1973)
61. Human rights
62. Las Tres Marías
63. Migration Title
64. Poster for farm worker movement
65. Takeover: How We Occupied a Hospital and Changed Public Health Care | Op-Docs
66. The Bracero Program - Cruz Leon Martinez
67. The Bracero Program - Babe Wood
68. The South Central Farm Banner (2006)
69. The Young Lords: Puerto Rican Struggle in the US
70. Videopoema: Por qué grita esa mujer
71. Watts riot scene at Central Ave. and 43rd St., Los Angeles, 1965 Firefighters battle flames at Central Avenue and 43rd Street as fire and smoke come from buildings destroyed during the Watts Riot. Central Avenue is a major north-south passage in the central portion of the Los Angeles metropolitan area. From approximately 1920 to 1955, Central Avenue was the heart of the African-American community in Los Angeles, with active rhythm and blues and jazz music scenes. #losangeles #police #protest
72. March to UN
73. Young Lords Garbage Offensive Police Interactions
74. Young Lords Garbage Offensive
75. Pinback button for the People's Church
76. Young Lords Occupying X-Ray Unit
77. Young Lords Collage

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Women in Art When discussing women in art, the one iconic figure consistently representing Latin America throughout history has been Frida Kahlo. While it's important to recognize Kahlo as a renowned artist, it is also important to recognize those numerous other influential women in art who are not as equally celebrated. These women also deserve the recognition and ought to be acknowledged as representatives of Latin America alongside Frida. This page is a collection of various underrepresented Latin women who have used art to explore themes ranging from self-identity to social-political issues and activism, all while bringing attention to the unjust cultural and social standards of women in Latin America. By Janet Landa This first image is of a handmade Arpillera, a vibrant patchwork picture made by sewing various fabrics and burlap materials together. During Pinochet’s military dictatorship in 1973-1990, there were various forced “disappearances” and inhumane treatment of the citizens of Chile by the hands of the government and military officers. Through the use of the arpillera, women were able to use their artistic expression to protest the political situation in Chile and bring awareness to the atrocities committed by the government. Many of the scenes depicted in these arpilleras include protests, depictions of the military officials violating human rights, and important figures/ buildings of Chile. These women took a typical household task of sewing and turned it into an artistic tool of political activism. These arpilleras served not only as a form of resistance to the political oppression but also as a form of record keeping to document this important period in the history of Chile.

Moreover, a Chilean artist, Janet Toro, used a different form of art called performance art as a similar mode for political and social expression. In 1986, Toro held a performance in the busy streets of Paseo Ahumada in Santiago, Chile where she and a helper held signs that read “Why are you smiling?” and “Why are you sad?”. Although these questions seem trivial, this was seen as an act that challenged the censorship and limits of the Pinochet dictatorship at the time. These simple questions led to strong engagement from the audience who were pedestrians in Chile going about their day. Various people approached and shared their opinions and responses to the signs. This was interrupted soon after by a police officer who approached and confronted Janet Toro with a hostile and dismissive attitude. However, after engaging him in a deeper conversation about the question in her hand, there was a remarkable shift in his attitude. This humanizing conversation fostered a profound connection between the two, which led to the officer eventually letting her go without repercussions. This was a powerful interaction that resulted in a tranquil resolution between a protesting citizen and the police under this oppressive military dictatorship.

This next artwork is a piece by a feminist group called Polvo de Gallina Negra, where two of the leaders named Monica Mayer and Maris Bustamante worked together to build a political and artistic space where women could address various social and political issues. In this artwork, the issues of women's safety are presented in a uniquely artistic way to bring attention to the issues of safety. At first glance, this piece looks like a regular recipe with ingredients and steps, but a closer look reveals to the viewer information about an important issue that women face: rape. This is actually a recipe for giving the evil eye to rapists. In Latin America, the evil eye is a superstitious belief of a curse that is brought upon one which brings them bad luck. The use of this recipe as the format is very representative of the social standards women face in Latin America. Women are expected to follow the gender norms of the culture which include adopting a traditional role of caring for the home and the children with tasks that include cooking and providing for the rest of the family members. It is very mindful that the artists chose to make the artwork resemble the format of a recipe. A traditional man who conforms to the gender norms in Latin America would not bat an eye at the recipe and most likely not read it, whereas a woman or girl would take a closer look at this recipe. This is a way to bring awareness to the issue of rape prevalent inside and outside their homes of women while doing so in an intimate way that also invites women to join this feminist group. Through the use of art, this group was able to bring light to various social and political issues, such as rape, prevalent in these Latin communities while simultaneously uniting women in a supportive environment.

The next image is an exhibition by Johanna Hamann, a Peruvian artist, who works with sculptures. She began to work on this specific piece in around 1979, which is composed of plaster casts of very pregnant bellies hanging from large metal meat hooks that one would find at a butcher shop. These decaying bellies are torn with hanging threads which seem to be representing rotting meat. This artwork is a reference to childbirth and womanhood. The way it portrays a pregnant belly that once contained and gave life to a human being, into torn and shredded is very impactful and possibly symbolizes the trauma women endure during childbirth. In addition, this decay also signifies the neglect women suffer after giving birth, which suggests that women are seen as just hosts for babies. Furthermore, the use of hanging the bellies on meat hooks evokes the mistreatment of women and is reminiscent of how animals are treated solely for reproduction and human consumption. This artist uses sculptures to illustrate the pain women endure.

Lastly, Susana Thenon is an Argentine poet who used words as a form of self-expression and would explore various themes of identity, social, and political issues affecting women. One of her most famous poems is titled, “¿Por qué grita esa mujer?”. This youtube video shows an illustration version of the poem. In this poem, one can presume that the woman in this poem is screaming in a rebellious way with the means to be heard and take up space in a society where the ones who take up the most space are men. However, as the poem progresses, we see the woman’s screams being suppressed and ignored until eventually she is no longer heard or remembered. This poem is a powerful representation of the resistance of women and what they face in a patriarchal society. This serves as a reminder of the importance of recognizing women’s voices and the need for women's empowerment.

Art comes in various forms, from visual to performance, each piece on this page was carefully constructed as a form of self-expression by Latinas. In addition, these works of art have been used as an instrument for social activism where these women artists educate and shed light on cultural, social, and political injustices faced by women in Latin America. These are just a few of the many women who deserve the proper artistic celebration and recognition that many have given to Frida Kahlo.