Picture By: Stephanie L.
Roosevelt High School was among the four East Los Angeles High schools that participated in the walk outs of 1968 to demanding more student rights for the growing Mexican American population at the their school. The drop out rates for Mexican American students at these schools was nearly 60%. As well, Mexican American students were often pushed to pursue a vocational training school rather than a four-year college education. The importance of this youth movement was to raise awareness to the community and create change within the schools to stop the discrimination against the Mexican American students. They made up a large population of these schools but were often left unacknowledged. The students created a proposal with thirty-nine demands within four subject areas where they saw a need for change; these subjects included student rights, administrative, facilities, and academic. Many students wanted the school to adopt an academic system that included more appreciation for the Mexican American culture and heritage and a more bilingual education system that would be open for students to participate in.
The walkouts were successful to a certain extent because it recognized the ability of the Mexican American community to speak out against the injustices they faced. By walk-outs of thousands of students hit the Los Angeles School District economically by decreasing the stipend they received for each student. This was a concern for the district and caught the public’s attention, which only empowered their walkouts. This movement clearly inspired the Mexican American community and greater united them since all these schools across East Los Angeles were able to plant the seeds for improvements to be made in the education system for Mexican American students.
While visiting the Roosevelt High we had the pleasure of meeting one of the oldest teachers at Roosevelt. He attended Roosevelt at the time of the walk-outs and was a junior in high school but because he was an athlete he did not participate in them. We asked him if the history of Roosevelt and its involvement in the historic walk outs is still felt across the campus or among the students and he told us that unfortunately it doesn’t, even though most of the population if not all is of Mexican American heritage. He himself acknowledged that he was a second-generation student who did not know how to fluently speak Spanish and considered himself American. He feels however that the movement that Roosevelt took part in helped unite Mexican American leaders and the community which allowed further advancement in other issues concerning Mexican Americans such as employment opportunities and other social justice issues.
Picture Courtesy: L.A. Times/UCLA Collection
I was interested in this site because I think it is a huge part of the Mexican American History that is so close to us but yet is often forgotten since issues of immigration override this history and activism. It is also an interesting site because of the proximity it has from Ruben Salazar Park where another activist died fighting issues of injustices. As Muñoz mentions, the Chicano student movement was to a large extent a “quest for identity, an effort to recapture what had been lost through the socialization process imposed by US schools.”(Munoz, 61). This new emerging Chicano identity helped ignite these walkouts, whose overall goal was to change the historical racism that Mexican Americans continuously faced. This youth involvement took leadership in their concerns and eventually created a cultural nationalism.
Sources:
Munoz, Carlos. "Ch. 2 The Militant Challenge: The Chicano Generation." Youth, Identity, Power. 47-73. Print.
Submitted By: Albertina B, Raquel P, and Stephanie L.
Wednesday, April 25, 2012
Mariachi Plaza
Located in the Boyle Heights district of Los Angeles just off the 101 Freeway southbound is the Mariachi Plaza. The plaza itself is bounded by E 1st St, Pleasant Avenue, and N Boyle Avenue and is adjacent to the Metro Station for the connecting Gold Line extension. The name itself comes from the many Mariachi musicians roaming the area for potential job opportunities at parties, restaurants, and other private/community events (Lopez Kurland). Many of these professional musicians dress in typical charro attire and are eager to attract potential customers. What makes this site important is the location and the cultural significance of mariachi music to people of Mexican heritage.
The Boyle Heights area was a traditionally Jewish and Eastern European community during the early 20th century. Nationally, the area was heralded as a multicultural center as Latino and Asian families lived alongside the previously mentioned people. It was during mid-century that the expansion of the Westside residential community and the inclusion of formerly marginalized Jewish and Eastern European immigrants into the ‘White’ category that led to the drastic demographic changes of Boyle Heights. Practices such as redlining and restrictive covenants barred non-White people from purchasing homes in residential communities in certain districts, which led to the Boyle Heights district becoming a predominately Latino community. This change in demographics goes hand-in-hand with the emerging presence of Mariachi musicians in the plaza during the 1930’s, along with the wave of migration from Mexico. As a musical genre, mariachi music has “the opportunity to unite people whose cultural roots are in Mexico” (Sylvia Clark). George Sanchez elaborates on the emergence of a recording industry and radio network based around the collection of immigrant musicians. For the potential consumers of mariachi music, what attracts them to Mariachi Plaza is the cultural significance of the style of music to their ethnic heritage. The commercialization of the Mexican music industry created a “new mode of ethnic expression” that “…connects the ethnic self-identification and collective culture” (Sanchez). The Mariachi Plaza can be seen as the threshold of collective Mexican identification for Angelinos who seek the familiar sounds of trumpets, guitars, and belting vocals.
Issues of urban gentrification have now become reasons for collective action in recent years as public projects such as the erection of Gold Line Eastside Extension, the expanded Rudy de Leon/Hollenbeck Police Station, and the expansion of the General Hospital have displaced more than 1,000 families. Low-income projects have been demolished and have left more than 940 families displaced, creating a net loss of 661 affordable housing units (Joy Hepp).For many residents who have long established their home in Boyle Heights, 'progress' has been slowly making it the home of those residents who can financially afford it.
Sources:
Clark, Sylvia. “Mariachi music as a symbol of Mexican culture in the United States”. International Journal of Music Education: Sage Publications. 16 Nov. 2005. Web. 23 Apr. 2012.
Sanchez, George. “Becoming Mexican American”. Oxford University Press: New York. 1993.
Lopez Kurland, Catherine. “Mariachi Plaza Los Angeles”. March 2009. Web. 23 Apr. 2012.
Hepp, Joy. "Price of 'Progress': Displacing low-income residents". March, 31, 2010. Healthycal.org.
Submitted By: Stephanie L, Albertina B, and Raquel P.
All Pictures By: Stephanie L.
Mark Taper Forum
Mark Taper Forum--Picture By: Mark of "you-are-here.com"
Located downtown at the Music Center of Los Angeles (adjacent to the Ahmanson Theatre and Dorothy Chandler Pavilion) is the Mark Taper Forum. Conveniently located just off the 110 Freeway headed northbound, this award-winning bastion of theatre has hosted some of the most premier and popular plays of its time—including Luis Valdez’s Zoot Suit (1978). The Mark Taper Forum was built in 1967 as part of a cultural initiative led by Dorothy Chandler and others. Architect Welton Becket built the Forum with no set plan as to its function, but Mrs. Chandler soon convinced theatre producer Gordon Davidson to “rent out the place” (Pincus-Roth).
The Mark Taper Forum has produced award-winning plays such as Children of a Lesser God, The Kentucky Cycle, and Angels of America under Davidson. These plays, as Charles Marowitz, director of "The Importance of Being Earnest" at Los Angeles Theatre Center commented in an L.A. Times article: "The Mark Taper Forum is the temple for the middle-class, middle-aged, middle-brow public in Los Angeles, and a reflection of the worst features of that public” (Thoughts on the Mark Taper Forum). Considering that Latinos made up a small percentage of theatre subscribers (2% in 1997), many of the plays produced followed traditional Western styles of theatrical production. Luis Valdez’s play Zoot Suit broke away from tradition and brought in a different clientele to the Forum, proven by the unprecedented twelve-week run and breaking of all former attendance records at the Mark Taper Forum (Romero). The play centers around the 1942 “Sleepy Lagoon” murder mystery and the consequent “Zoot Suit Riots” in Los Angeles, following the story of 22 young Chicanos who are brought to trial for a murder they did not commit. Through its use of Chicano language and cultural markers, the play introduces its audience to the new Chicano generation—a generation vocal and active about the injustices they face as non-White people. The young characters in the play (Hank Reyna and company) are immersed in the pachuco style, which is at the center of conflict with parental figures and mass media outlets that portray young Chicanos as rebellious criminals.
Picture Courtesy of Mark Taper Forum
Consistent with themes of identity formation and the process of racialization, Zoot Suit provides a concrete example of the tough realities faced by the new Chicano generation. The success the play had at the Mark Taper Forum showcases the interest Latino people have in attending the theatre for plays that are relatable to their community.
Picture By: Stephanie L.
Picture By: Mark of "you-are-here.com"
Sources:
Pincus-Roth, Zachary. “A Los Angeles Theater Is Renovated, Relieving Headache-Inducing Quirks”. 26 August. 2008, New York Times, ProQuest. Web. 23 Apr. 2012.
"Thoughts on the Mark Taper Forum" Los Angeles Times (pre-1997 Fulltext) 5 Apr. 1987, Los Angeles Times, ProQuest. Web. 24 Apr. 2012.
Romero, Manny. Valdez Brings Stylish ‘Zoot Suit’ to Gammage. Arizona State University Website. Web. 24 Apr.2012.
Submitted By: Stephanie L, Raquel P, and Albertina B.
Located downtown at the Music Center of Los Angeles (adjacent to the Ahmanson Theatre and Dorothy Chandler Pavilion) is the Mark Taper Forum. Conveniently located just off the 110 Freeway headed northbound, this award-winning bastion of theatre has hosted some of the most premier and popular plays of its time—including Luis Valdez’s Zoot Suit (1978). The Mark Taper Forum was built in 1967 as part of a cultural initiative led by Dorothy Chandler and others. Architect Welton Becket built the Forum with no set plan as to its function, but Mrs. Chandler soon convinced theatre producer Gordon Davidson to “rent out the place” (Pincus-Roth).
The Mark Taper Forum has produced award-winning plays such as Children of a Lesser God, The Kentucky Cycle, and Angels of America under Davidson. These plays, as Charles Marowitz, director of "The Importance of Being Earnest" at Los Angeles Theatre Center commented in an L.A. Times article: "The Mark Taper Forum is the temple for the middle-class, middle-aged, middle-brow public in Los Angeles, and a reflection of the worst features of that public” (Thoughts on the Mark Taper Forum). Considering that Latinos made up a small percentage of theatre subscribers (2% in 1997), many of the plays produced followed traditional Western styles of theatrical production. Luis Valdez’s play Zoot Suit broke away from tradition and brought in a different clientele to the Forum, proven by the unprecedented twelve-week run and breaking of all former attendance records at the Mark Taper Forum (Romero). The play centers around the 1942 “Sleepy Lagoon” murder mystery and the consequent “Zoot Suit Riots” in Los Angeles, following the story of 22 young Chicanos who are brought to trial for a murder they did not commit. Through its use of Chicano language and cultural markers, the play introduces its audience to the new Chicano generation—a generation vocal and active about the injustices they face as non-White people. The young characters in the play (Hank Reyna and company) are immersed in the pachuco style, which is at the center of conflict with parental figures and mass media outlets that portray young Chicanos as rebellious criminals.
Picture Courtesy of Mark Taper Forum
Consistent with themes of identity formation and the process of racialization, Zoot Suit provides a concrete example of the tough realities faced by the new Chicano generation. The success the play had at the Mark Taper Forum showcases the interest Latino people have in attending the theatre for plays that are relatable to their community.
Picture By: Stephanie L.
Picture By: Mark of "you-are-here.com"
Sources:
Pincus-Roth, Zachary. “A Los Angeles Theater Is Renovated, Relieving Headache-Inducing Quirks”. 26 August. 2008, New York Times, ProQuest. Web. 23 Apr. 2012.
"Thoughts on the Mark Taper Forum" Los Angeles Times (pre-1997 Fulltext) 5 Apr. 1987, Los Angeles Times, ProQuest. Web. 24 Apr. 2012.
Romero, Manny. Valdez Brings Stylish ‘Zoot Suit’ to Gammage. Arizona State University Website. Web. 24 Apr.2012.
Submitted By: Stephanie L, Raquel P, and Albertina B.
Ruben Salazar Park
Ruben Salazar Park is located at 3684 Whittier Boulevard in Los Angeles and has become an important place for Mexican Americans. This park is interesting because it was a place for Chicano activists and it remembers a Chicano journalist.
The 1960s and 1970s were a critical period in American History. In the 1960’s, Chicanos begun to fight for various rights including education. The 1970s brought about a similar form of activism. This time the activism was about the draft that occurred in the Vietnam War. At this time, many youth were concerned that too many Latinos were sent to Vietnam because Latinos accounted for a disproportionate amount of deaths in the war. The drafting of the war led many youth to form protests around the country. The largest of these protests occurred in the city of East Los Angeles. This protest was organized by the National Chicano Moratorium against the Vietnam War. It was estimated that more than 30,000 people were in attendance for this anti-war protest. Ruben Salazar, who was the first Latino journalist of a major newspaper, covered these protests. Salazar was one of the first people to bring Chicano issues to the American public. He was a reporter for the Los Angeles Times and KMEX, a Spanish language television station. The protest started at Belvedere Park in East Los Angeles and this peaceful demonstration was supposed to end at a place called Laguna Park (Ruben Salazar Park) in Boyle heights. However these demonstrations did not end like they were planned. As the protest was nearing Laguna Park, the police tried to stop this demonstration. They sent tear gas into the crowd of demonstrators. Salazar decided to stay in a small café on Whittier Boulevard called the Silver Dollar Café. A police deputy threw a 10-inch projectile of tear gas. This struck Ruben Salazar and killed him instantly. The Chicano community mourned the loss of this journalist who brought Chicano Issues to the main public. He was considered a hero and Laguna Park was renamed Ruben Salazar Park in his honor.
The year 2010 marked the 40th anniversary of the anti-war protest that occurred in East Los Angeles. Young and old Chicanos activists gathered around Ruben Salazar Park to remember this event and the life of Ruben Salazar. Ruben Salazar Park serves as a remainder to the Latino community of a man who advocated for Latino rights and people who protested against issues that affected the Latino community. It also serves as a remainder to today’s youth that they can also get involved and think about the issues that affect us now. Ruben Salazar Park remains an important part of the Latino community.
Students Protesting during Chicano Moratorium. Photo Courtesy: UCLA Library Digital Photo Archive
Sources:
Aranda, Paul. “Eastside Honors Anniversary of 1970 Chicano Moratorium”. L.A. Beez Ethnic News. 3 September 2010. Web. 16 April 2012.
Holguin, Robert. “ Journalist Ruben Salazar’s Death Re-examined”. ABC News. 27 August 2010. Web. 20 April 2012.
“Ruben Salazar”. California Chicano News Media Association. ND. Web. 22 April 2012.
“Edward R. Roybal”. Library of Congress. 15 July 2010. Web. 21 April 2012.
Submitted By: Raquel P, Stephanie L, and Albertina B.
Pictures By: Stephanie L.
Tuesday, April 24, 2012
Olvera Street
Photo Taken By: Steph S. and Laylani D.
Photo Taken By: Steph S. and Laylani D.
Address: 845 N Alameda St. Los Angeles, CA 90012
This
street is said to be the starting point of Los Angeles, it is a market place
built in the 1930s by Christine Sterling, an Activist at the time. It’s
beautiful architecture, and brilliant colors have drawn in people for years.
Its lively atmosphere houses not just a marketplace, but also a realm of
Mexican traditions and people. It’s full of great music, authentic cuisine, and
a positive ambiance for everyone. It is a center of culture that we were drawn
to learn more about.
In 1781 eleven Mexican families moved to Los Angeles. At the time Olvera Street was called, Wine or Vine Street. It wasn’t until 1877 that the street was officially named Olvera, after their first judge, Augstin Olvera. As time progressed, the city suffered and so did its immigrants. This street’s plaza became a gathering place for radicals, trying to move forward. However it wasn’t until Christine Sterling came into the picture in 1926 that Olvera Street began to move forward.Sterling was so surprised at how deteriorated the area became, and decided to rebuild without actually tearing it apart, like the city had decided. She gained attention through positive press from the Los Angeles Times and eventually was able to close the street from cars and make it into the wonderful place it is now in 1929.
In 1781 eleven Mexican families moved to Los Angeles. At the time Olvera Street was called, Wine or Vine Street. It wasn’t until 1877 that the street was officially named Olvera, after their first judge, Augstin Olvera. As time progressed, the city suffered and so did its immigrants. This street’s plaza became a gathering place for radicals, trying to move forward. However it wasn’t until Christine Sterling came into the picture in 1926 that Olvera Street began to move forward.Sterling was so surprised at how deteriorated the area became, and decided to rebuild without actually tearing it apart, like the city had decided. She gained attention through positive press from the Los Angeles Times and eventually was able to close the street from cars and make it into the wonderful place it is now in 1929.
Apart
from beginning the oldest place in Downtown Los Angeles, it is the home to many
important landmarks.Olvera
Street isn’t just about what it is now, it’s about the obstacles and people who
worked to make it the center it is now, it offers the opportunity for people to
conserve their traditions and sell customary items from their culture. Our
class has constantly covered activist and rebels who work together to overcome
adversity. We learned the struggles immigrants faced when trying to assimilate.
Our readings highlighted the thin line between integrating both cultures and erasing
one to keep another. It was and continues to be difficult for Mexican
American’s to identify with either culture, which is why Olvera Street is so
important, it bends the rules and is a center for the Mexican American.
Today,
Olvera Street is not just a historical representation of the city, Olvera
Street houses so many events. Some of their events include, the festival of
“Las Posadas” which is very popular in Mexico. The Posada is a reenactment of
the religious figures, Mary and Joseph’s journey to Bethlehem and Christ’s
birth. Another event is the Celebration of the “El Dia De Los Muertos,” this
day commemorates the dead. It is an important celebration in Mexico and
continues to be in Olvera street, it connects the living with the dead. These
aren’t all of the celebrations at Olvera street but they help relay the
importance of this community and it’s livelihood that still lives.
Photo from Olvera Street Website
Submitted By: Steph S. and Laylani D.
Sources:
"El Pueblo De Los Angeles Historical Monument." El Pueblo De Los Angeles HIL MONUMENT. Web. 24 Apr. 2012. <http://elpueblo.lacity.org/>.
"Historical Timeline of Los Angeles." Discover Los Angeles. Web. 24 Apr. 2012. <http://discoverlosangeles.com/guides/fun-facts/historical-timeline.html>.
"The Olvera Street History." Culture, and the Arts. Web. 24 Apr. 2012. <http://olvera-street.com/html/history_part_2.html>.
Rondeau, Ginette R. "Welcome to Olvera-Street.com - Christine Sterling."Bienvenidos! Welcome to Olvera-Street.com. 1998-2010. Web. 24 Apr. 2012. <http://www.olvera-street.com/html/christine_sterling.html>.
Monday, April 23, 2012
National Association of Latino Elected Officials (NALEO) Los Angeles Office
The NALEO office is located on 1122 West Washington Boulevard in Los Angeles, California. NALEO stands for National Association of Latino Elected Officials. For many years, there had not been many Latino elected officials. However this changed in 1962, when Edward Roybal was elected to Congress. He was the first Latino Congressman elected since the 1800s. Edward Roybal founded NALEO in 1976 as a place where Latino issues can be discussed and to be an inspiration to future Latino leaders as well. This site is interesting because it not only provides services to newly elected Latino officials but also helps out Latinos in the surrounding areas.
NALEO is also comprised of the NALEO Educational Fund. Since 1981, NALEO Educational Fund has been the leading organization that has provided Latinos with a wide range of services such as citizenship and other public services. And NALEO has made significant progress to help the Latino population within the state of California. NALEO is involved in educating and encouraging the Latino population to become involved in the civic life but also help Latino officials make policies that advance Latino civil engagement. NALEO also serves as a tool for newly elected Latino officials in understanding issues that affect the Latino community in California. NALEO is also involved with citizenship. NALEO runs a campaign called “Ya es el hora! Ciudadanía!” (It’s Time, Citizenship). The campaign takes the form of a workshop. This workshop occurs in many cities around California and helps legal permanent residents become citizens. This campaign has proven to be the most successful in having Latinos become citizens. It is estimated that Latinos now consist of half the population of people being naturalized. And NALEO has helped more than a million Latinos apply for citizenship. And many Latinos have preferred taking this route rather than going through the INS. Because of this program, NALEO has been successful in reversing the perception of Latinos not becoming citizens.
NALEO is also involved with a campaign that encourages Latinos to vote called, “Ya es el hora! Ve y Vota!” (Its time, go and vote!). This campaign was successful in registering 25,000 Latinos to vote. This campaign proved successful when more than 11.1 million Latinos voted during the last presidential election. The NALEO office in Los Angeles, California has proven to be a very resourceful place for Latinos. It not only comprises of Latino elected officials who are concerned with Latino rights but also provides inspiration for young Latinos. The organization also serves as a platform so Latinos can be more educated about civic engagement, and to assist them with their process of naturalization and voting.
Photograph Courtesy: Associated Press
Sources:
“History of NALEO”. NALEO. ND. Web. 21 April 2012.
Jimenez, Manuel. “Citizenship Programs Help Ease the Process”. Los Angeles Times. 29 April 1993. Web. 21 April 2012. “NALEO at a Glance” NALEO. ND. Web. 22 April 2012.
Yu, Corrine. “NALEO Holds Naturalization Workshops for Citizenship Day”. Civil Rights.17 April 2009. Web. 22 April 2012.
Pictures by: Stephanie L.
Submitted By: Raquel P, Stephanie L, and Albertina B.
Welcome
"Mapping Los Angeles" is a collaborative class project undertaken by USC students in Professor Juan De Lara's courses. Taking inspiration from the book A People's Guide to Los Angeles (Pulido, Barraclough, and Cheng; UC Press, 2012) students researched, visited, and photographed sites in Los Angeles County, that illustrate the workings of race, power, and social movements in the landscape.
We hope you enjoy browsing our "alternative guide" to Los Angeles and welcome your comments!
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