Walls of Empowerment
Chicana/o Indigenist Murals of California
Publication Year: 2008
Published by: University of Texas Press
Title, Copyright Page
Introduction: Indigenism and Chicana/o Muralism: The Radicalization of an Aesthetic
Two Aztec warriors, dressed in full regalia, clasp arms as they engage in a ritual dance with a mountainous landscape stretching behind them. Aside from inhabiting this idyllic environment, these heroes also physically reside within the barrio setting of East Los Angeles, where Ernesto de la...
1. The Dialectics of Continuity and Disruption: Chicana/o and Mexican Indigenist Murals
As stipulated in the introduction to this volume, Chicana/o Indigenism was deeply influenced by the Indigenist discourses that emerged in Mexico aft er the Revolution of 1910. Th e various mural cycles commissioned by the Mexican government throughout the first half of the twentieth century...
2. The Chicano Movement and Indigenist Murals: The Formation of a Nationalist Canon and Identity
By the early 1970s, once Chicana/o activists had established the civil rights movement and the Chicano Movement as viable platforms through which people of color could articulate their newly politicized identities, they also needed a visual repertoire to accompany or complement...
3. Graffiti and Murals: Urban Culture and Indigenist Glyphs
It should come as no surprise that Chicana/o muralism emerged in the same spaces where graffiti, tagging, throw-ups, and plaqueasos/placas were and continue to be prominent in the urban landscapes of California. Though community muralism, Chicana/o Indigenism, and graffiti are creative...
4. The Chicana/o Mural Environment: Indigenist Aesthetics and Urban Spaces
As I stipulated in the introduction to this volume, Indigenist imagery in muralism was meant to function as a metaphorical and tangible platform where Chicana/o artists could carve out spaces for the articulation of cultural citizenship and decolonizing creative expressions. The space, site...
5. Gender, Indigenism, and Chicana Muralists
The chosen medium for the politically engaged Chicana/o artist in the 1970s was undoubtedly the public mural.1 Indeed, the public mural was deeply saturated with a powerful history of politicization as well as a profound connection to indigenous artistic traditions. But murals also possessed...
6. Murals and Postmodernism: Post-movimiento, Heterogeneity, and New Media in Chicana/o Indigenism
The changes in the Chicana/o mural scene and its accompanying Indigenist vocabulary ushered in by individuals like graffiti artists, Chicana muralists, and others greatly contributed to a breaking down of some of the monolithic notions of identity that at times defined these public works of...
One of the most motivating reasons that I took a specific interest in the Indigenist iconography found in California Chicana/o murals was that I immediately understood that the recurrence of this imagery functioned as a sort of chronic symptom of Chicana/o culture at the end of the twentieth...
Page Count: 324
Illustrations: 60 b&w photos, 16-page color section
Publication Year: 2008
OCLC Number: 311063888
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