Toward A Radical Arts Practice: Theater And Muralism During The Chicano Movement

The use of art creates community-driven experiences that are unique to Chicano/Latino expression. Authors and Curators like Carribean Fragoza and the Petersen Automotive Museum discuss the importance of creative expression within these communities. Carribean Fragoza’s, "Toward a Radical Arts Practice: Theater and Muralism during the Chicano Movement", discusses the impact art forms such as teatro and murals had on vulnerable Mexican American youth. Similarly, the Petersen Automotive Museum’s, "Seven Reasons to See High Art, Riding Low", demonstrates the craftsmanship and dedication used to illustrate culturally-driven works of art on the bodies of lowriders.

Art comes in many forms and sizes, and sometimes even takes the form of

Carribean Fragoza’s, "Toward a Radical Arts Practice: Theater and Muralism during the Chicano Movement" uses a pedagogical approach to teach gang-affiliated youth to use art to help their communities as well as evoke a sense of justice to speak out about issues within the community. For instance, the muralist Ron Reeder attempts to connect with the youth by showing them muralists from similar cultural backgrounds that inspired him at their age. Reeder explains, “The image of the crucified Indian man depicted and its sharp critique of racist institutions resonated with the students, who understood what it was like to be a young person of color continuously subjected to discrimination, disenfranchisement, and punishment” (Fragoza 120). These students found themselves in this mural piece and use this as an inspiration to create murals and channel their frustrations with the issue occurring within their community such as rising unemployment. Similarly, the Rodrigezes worked to bring teatro programs into the community such as the Teatro Urbano. For instance, they worked with neighboring cities and communities to create support within these teatros. Rosemary mentions, “Not even our own people accepted us. That's why we had to connect with communities nearby” (Fragoza 116). Both older generations and Chicanx youth alike had difficulties resonating with and participating in these teatros. The reason why these youths struggled to resonate with their cultural heritage and stand up for their community was due to school systems excluding students of color from art programs like theater. Not to mention, theater spaces within schools were typically white-dominated. Unfortunately, due to factors like city policies halting mural projects and pushback from Chicanx communities the effects of the arts within these communities were snipped before