The Mexican and Chicana/o residents of San Diego have a long, complicated, and rich history that has been largely ignored. This collection of essays shows how the Spanish-speaking people of this border city have created their own cultural spaces. Sensitive to issues of gender—and paying special attention to political, economic, and cultural figures and events—the contributors explore what is unique about San Diego’s Mexican American history. In chronologically ordered chapters, scholars discuss how Mexican and Chicana/o people have resisted and accommodated the increasingly Anglo-oriented culture of the region. The book’s early chapters recount the historical origins of San Diego and its development through the mid-nineteenth century, describe the “American colonization” that followed, and include examples of Latino resistance that span the twentieth century—from early workers’ strikes to the United Farm Workers movement of the 1960s. Later chapters trace the Chicana/o Movement in the community and in the arts; the struggle against the gentrification of the barrio; and the growth of community organizing (especially around immigrants’ rights) from the perspective of a community organizer. To tell this sweeping story, the contributors use a variety of approaches. Testimonios retell individual lives, ethnographies relate the stories of communities, and historical narratives uncover what has previously been ignored or discounted. The result is a unique portrait of a marginalized population that has played an important but neglected role in the development of a major American border city.

This bilingual book tells the story of the founding of Chicano Park in San Diego, California. The community Take Over of land that had been ravished by the construction of Interstate 5 and the Coronado Bridge has now become a National Landmark hosting murals of international acclaim and stands as a symbol of self-determination and culture.

As immigration from Mexico to the United States grew through the 1970s and 1980s, the Border Patrol, police, and other state agents exerted increasing violence against ethnic Mexicans in San Diego's volatile border region. In response, many San Diego activists rallied around the leadership of the small-scale print shop owner Herman Baca in the Chicano movement to empower Mexican Americans through Chicano self-determination. The combination of increasing repression and Chicano activism gradually produced a new conception of ethnic and racial community that included both established Mexican Americans and new Mexican immigrants. Here, Jimmy Patino narrates the rise of this Chicano/Mexicano consciousness and the dawning awareness that Mexican Americans and Mexicans would have to work together to fight border enforcement policies that subjected Latinos of all statuses to legal violence. By placing the Chicano and Latino civil rights struggle on explicitly transnational terrain, Patino fundamentally reorients the understanding of the Chicano movement. Ultimately, Patino tells the story of how Chicano/Mexicano politics articulated an "abolitionist" position on immigration--going beyond the agreed upon assumptions shared by liberals and conservatives alike that deportations are inherent to any solutions to the still burgeoning immigration debate.

In The Chicano Generation, veteran Chicano civil rights scholar Mario T. García provides a rare look inside the struggles of the 1960s and 1970s as they unfolded in Los Angeles. Based on in-depth interviews conducted with three key activists, this book illuminates the lives of Raul Ruiz, Gloria Arellanes, and Rosalio Muñoz—their family histories and widely divergent backgrounds; the events surrounding their growing consciousness as Chicanos; the sexism encountered by Arellanes; and the aftermath of their political histories. In his substantial introduction, García situates the Chicano movement in Los Angeles and contextualizes activism within the largest civil rights and empowerment struggle by Mexican Americans in US history—a struggle that featured César Chávez and the farm workers, the student movement highlighted by the 1968 LA school blowouts, the Chicano antiwar movement, the organization of La Raza Unida Party, the Chicana feminist movement, the organizing of undocumented workers, and the Chicano Renaissance. Weaving this revolution against a backdrop of historic Mexican American activism from the 1930s to the 1960s and the contemporary black power and black civil rights movements, García gives readers the best representations of the Chicano generation in Los Angeles.

United States History from a Chicano Perspective provides students with engaging and enlightening readings that introduce them to contemporary Mesoamerica and illuminate the ways the past and present are constantly interacting within this landscape. The anthology highlights the themes of survival, resilience, and resistance, showing how Mexicans and Chicanos continue to thrive despite a history marked with grave adversity and seemingly insurmountable struggles. The readings within the anthology trace the impacts of colonialism on Mexicans and Mexican Americans and also demonstrate how Chicanos have endured by embracing indigenous traditions and developing their own unique culture. Particular selections explore Mexican religious healing practices, the reclamation of Mesoamerican foods, identity construction in representations of Malinche, the reformation of the concept of "home" by queering Aztlán, and more. These selections examine the intersections of race, gender, and sexuality, demonstrating a robust spectrum of diversity within the Mexican and Chicano experience. United States History from a Chicano Perspective provides students with a unique lens through which to view and analyze U.S. history. It is an ideal supplementary resource for courses in U.S. history, multicultural studies, and any course with emphasis on the Chicano experience. Angélica Yañez, Ph.D. is an assistant professor in the Multicultural Studies Department at Palomar College. She earned her doctorate degree in ethnic studies from the University of California, San Diego.

Over the past twenty-five years, Chicano artists have made a unique contribution to public art in California, transforming thousands of walls into colorful artworks that express the dreams, achievements, aspirations, and cultural identity of the Mexican-American community. Signs From the Heart tells the inside story of this new and important American art form in four interpretive essays by noted Chicano scholars about its historical, artistic, and educational significance.

Youth, Identity, Power is a study of the origins and development of Chicano radicalism in America. Written by a leader of the Chicano Student Movement of the 1960s who also played a role in the creation of the wider Chicano Power Movement, this is the first fill-length work to appear on the subject. It fills an important gap in the history of political protest in the United States. The author places the Chicano movement in the wider context of the political development of Mexicans and their descendants in the US, tracing the emergence of Chicano student activists in the 1930s and their initial challenge to the dominant racial and class ideologies of the time. Munoz then documents the rise and fall of the Chicano Power Movement, situating the student protests of the sixties within the changing political scene of the time, and assessing the movement's contribution to the cultural development of the Chicano population as a whole. He concludes with an account of Chicano politics in the 1980s. Youth, Identity, Power was named an Outstanding Book on Human Rights in the United States by the Gustavus Myers Center in 1990.

Bringing together a unique collection of narrative accounts based on the lived experience of queer Chicano/Mexicano sons, this book explores fathers, fathering, and fatherhood. In many ways, the contributors reveal the significance of fathering and representations of fatherhood in the context of queer male sexuality and identity across generations, cultures, class, and Mexican immigrant and Mexican American families. They further reveal how father figures—godfathers, grandfathers, and others—may nurture and express love and hope for the queer young men in their extended family. Divided into six sections, the book addresses the complexity of father-queer son relationships; family dynamics; the impact of neurodiverse mental health issues; the erotic, unsafe, and taboo qualities of desire; encounters with absent, estranged or emotionally distant fathers; and a critical analysis of father and queer son relationships in Chicano/Latino literature and film.

This book documents the experiences of sixty-one women who flourished in the ferment of the civil/ethnic/women's rights movements of the late twentieth century and beyond. While each life is unique, collectively they demonstrate the benefits gained when a community and a society unleashes and fosters the potential of women who create, organize, and lead. Conversely, an undetermined degree of loss may accrue to societies that suppress or discourage the freedom of women to shape their destinies. When women come together with a collective intention, powerful things happen. Simultaneously, but separately, in 1972-73, at San Diego State University and at Stanford University, and having never met, two of us had the same idea, to propose and design a course about Mexican American women. The idea for this book also has a history. In those days, both of us wanted to contribute to the development of Chicano studies. The Mexican American voice, so much a fabric of U.S. history was missing from the dominant English narrative and the women's presence was nearly absent from Chicano literature and history. Chicanas acted to change these injustices, thereby adding new energy to the Chicano Movement and to other liberation discourse. At that time, as graduate students, we had the opportunity to teach a Chicana women's course. Such a course had never been taught at either university. While women instigated change at different colleges, in those years Chicanas/Latinas appeared to be anonymous. And although Anglo women around the country had already started addressing women's needs, they did not include the new diverse student population that was entering the universities. the woman where she has most noticeably served. Chapters One and Two begin with Mujeres Presentes, that is, the women who have passed away but whose presence lives on as their actions continue to affect the lives of others. Chapters Eleven and Twelve highlight educators whose work builds on that of earlier mentors and their actions. The chapters between include: Three and Four, "Early Activists;" Five and Six, "Chicanas in the Arts: " Seven and Eight, "Chicanas in Education;" Nine and Ten, "Chicanas in Public Office." Each chapter includes a brief introduction, but the women's narratives are the core of the book; their stories easily stand on their own. This collection may be considered a starting point and by no means represents the entire Chicana/Latina community in San Diego. As it turned out there were many more women than the sixty-one women presented here. The hope is that others may read the book and decide to author a future edition. All women ought to be honored for their efforts and receive the recognition they deserve.

This anthology provides an overview of the history and theory of Chicano/a art from the 1960s to the present, emphasizing the debates and vocabularies that have played key roles in its conceptualization. In Chicano and Chicana Art—which includes many of Chicano/a art's landmark and foundational texts and manifestos—artists, curators, and cultural critics trace the development of Chicano/a art from its early role in the Chicano civil rights movement to its mainstream acceptance in American art institutions. Throughout this teaching-oriented volume they address a number of themes, including the politics of border life, public art practices such as posters and murals, and feminist and queer artists' figurations of Chicano/a bodies. They also chart the multiple cultural and artistic influences—from American graffiti and Mexican pre-Columbian spirituality to pop art and modernism—that have informed Chicano/a art's practice. Contributors. Carlos Almaraz, David Avalos, Judith F. Baca, Raye Bemis, Jo-Anne Berelowitz, Elizabeth Blair, Chaz Bojóroquez, Philip Brookman, Mel Casas, C. Ondine Chavoya, Karen Mary Davalos, Rupert García, Alicia Gaspar de Alba, Shifra Goldman, Jennifer A. González, Rita Gonzalez, Robb Hernández, Juan Felipe Herrera, Louis Hock, Nancy L. Kelker, Philip Kennicott, Josh Kun, Asta Kuusinen, Gilberto “Magu” Luján, Amelia Malagamba-Ansotegui, Amalia Mesa-Bains, Dylan Miner, Malaquias Montoya, Judithe Hernández de Neikrug, Chon Noriega, Joseph Palis, Laura Elisa Pérez, Peter Plagens, Catherine Ramírez, Matthew Reilly, James Rojas, Terezita Romo, Ralph Rugoff, Lezlie Salkowitz-Montoya, Marcos Sanchez-Tranquilino, Cylena Simonds, Elizabeth Sisco, John Tagg, Roberto Tejada, Rubén Trejo, Gabriela Valdivia, Tomás Ybarra-Frausto, Victor Zamudio-Taylor