November 2009 Archives

Redraw

By Adolfo Guzman-Lopez
November 25, 2009

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Chicano muralists went crazy on George Washington's home. Raul Baltazar agreed I wasn't totally off. A couple of months ago he and fellow painter Melly Trochez finished six outdoor murals and several indoor paintings at Johnnie Cochran Middle School near L.A.'s Koreatown, named after L.A.'s most famous African American lawyer. The school started life 86 years ago as Mt. Vernon Junior High School, built during an immigrant boom in L.A. that unlike recent trends was fed mostly by arrivals from the Midwestern United States.

What's exciting about the Baltzar-Trochez project is its scale and its role in adding another coat of cultural paint to changing section of Los Angeles.

I'd put the project next to that of any L.A.'s major contemporary muralists, such as Judy Baca or Kent Twitchell. It took Raul and Melly eight months and more than 500 gallons of paint to finish the work, the largest mural is about 40 feet tall by 150 feet wide.

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Los Angeles was a boom town in 1926 with a dire need for houses and schools for the hordes of immigrants coming mostly from the Midwest. The city was a movie, manufacturing and oil boom town. Thick oil well forests covered parts of Echo Park, most of Signal Hill, and parts of Huntington Beach now awash with beachside condos. Factories churned out cars, tires and little parts for bigger products.

One of Mt Vernon Jr. High's buildings maintains architectural elements that echo the columns at Washington's longtime home, a reminder of the colonial founding father, America's colonial heritage and the civic institutions he helped build.

Thanks to Baltazar and Trochez that building now has Hindu images, cartoonish and multi-ethnic portrayals of teens being teens, all embraced by the large wings of an eagle. After experiencing tagging on their first works, they canvassed area residents, even local Buddhist monks, to find out what images they wanted on the walls.

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Muertos

By Adolfo Guzman-Lopez
November 13, 2009

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Day of the Dead's come and gone, one more year on its march toward becoming this country's newest holiday.

That's what Rutgers University professor Regina Marchi argues in her new book. You can find Dia de los Muertos/Day of the Dead celebrations across the U.S. because there are now significant populations of Latin American immigrants in most states. And the celebrations are attracting non-Latinos, who are picking up the tradition as their own.

We need to go back to the Chicano civil rights movement, 40 years ago, to trace the current growth of the observance. Mostly U.S.-born Mexican American artists in the late 1960s and early 1970s started these celebrations in California cultural centers after trips to Mexico, where it was purposefully forgotten in large cities.

In the 1950s and 60s, Marchi said in an interview, Mexico's ruling class saw Dia de los Muertos as a backward tradition that had no place in large cities undergoing post-World War Two modernization. That changed in the 1970s when Day of the Dead was folded into national tourism campaigns, becoming one of many stops on an extensive cultural tourism trail carved out by the Mexican government.

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SoCal Connected

About Movie Miento

Movie Miento is a poetic exploration of Los Angeles history, Latino culture and overall sense of place, darting across LA's physical and psychic borders. It is written by poet and journalist Adolfo Guzman-Lopez.

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