The mural that I attended was supposed to bring awareness to the problems that are occurring within the Hispanic community which is the terrible separation of families at the border. The mural displays children and even what seems like a mother holding a baby looking very depressed and upset while being behind these cages. Another great part of the mural is that it is behind a fence which creates this 3D effect of a cage which is what they are put in when separated from their families. A concept that was brought up by T.V Reed in his writing of The Art of Protest (2005)  “El movimiento continues to grow and change, to face the challenges of a conservative backlash (represented by anti-immigrant, anti–affirmative action, and English-only ballot initiatives in California and elsewhere), and to assert the powerful presence of Americans of Mexican descent.”(Reed 128) which shows that the movement that Chicanos created with these murals are fighting against these conservatives' challenges. This relates back to my personal mural because it shows families being separated which connects back to Reed talking about anti-immigrant problems that occur in the US. The separation of families is a very controversial problem going on at the border which is why bringing light to it with murals in order to show their frustration is important to the hispanic community. This mural being located in San Fernando, a very hispanic rich area, is meant to reach out to the people in the community and appeal to the people’s emotions in order to bring awareness to those who aren’t informed on this terrible event. Hopefully bringing a community together in order to protest the problem of separation of families will help expand this movement of immigration problems that are happening at the Mexican border.

Moreover, the mural is also intended to bring light and protest against the terrible family separations that are happening at the border. The problems going on at the border are very controversial and a lot of people don’t like to talk about these problems that are happening where children are suffering not only because they are being trapped, but also because they’re away from their families. Judy Baca is a well known muralist who loves to bring in different cultures within her work in order to bring communities together to push for whatever message that she wants to convey. In the “Judy Baca and SPARC” video by Craft in America, Baca describes how she wanted her work to have meaning by saying “the works began to be narrative and they began to tell stories that where our stories ones that had never been told… they to make powerful statements about a new thought about who we were” (Craft in America 2017) . Baca is explaining how she wants to make powerful statements with her murals and tell stories that are either never brought to the spotlight by people or the media. This connects back to the mural that I choose to show off because the mural is bringing up a very frustrating topic for the hispanic community which involves the separation of families. Bringing stuff like this to the spotlight is really important when trying to protest something because not everyone has the information of what is happening at the border which is like the untold stories that Baca wants to push for through her art.  The mural is meant to not only show the problems that are going on at the border through art but also show what is being protested within the community. Being someone who is currently being affected by deportation of family members, this mural is a great way to protest against these problems that are going on.

In conclusion, murals are a very artistic and awesome way to express a movement or statement that pushes for change or protest over a topic. The mural that I choose is very impactful in the hispanic community in order to protest against the terrible separations of families. This connects back to Reed’s ideas of the Chicano movement trying to fight against anti-immigration injustices. In addition, Baca is a very popular and impactful muralist who tries to convey her messages through many different viewpoints which is why community is so important when it comes to protest art.

Reference:

Reed, T. Art of Protest : Culture and Activism from the Civil Rights Movement to the Streets of Seattle, University of Minnesota Press, 2005. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/callutheran/detail.action?docID

On 3429 Union Pacific Avenue in Los Angeles, California is the mural of Kobe and Gianna Bryant painted on the wall of a building. The mural from left to right has: Kobe and Gianna Bryant with halos above their head, then there is Kobe dribbling inside of the NBA logo, and on the right there is the 5 NBA championship trophies he won with the Lakers. Across the street from this mural there is another mural of creatures which look like wolves barking towards the people that are looking at it. There are also other figures and animals painted on buildings surrounding the Kobe mural.

The mural painted in Los Angeles that shows Kobe and Gianna Bryant shows the admiration that the artist had for Kobe and Gianna. When Kobe and Gianna Bryant passed away in a helicopter crash on January 26, 2020, the world was in disbelief. One of the legends of the basketball community had died at such a young age as well as a young prodigy. The mural was painted among many others in the neighborhood which seem to take away the old and beat down look of the buildings which they are painted on. In Chapter 4 of Reed’s book (2005) Art of Protest, she writes, “Most of the work I have discussed so far has been the work of mural collectives, often involving numerous nonartists from the community in which the mural is to appear and usually based on input from the community” (pg. 124). Similarly to the work that Reed (2005) discusses, this mural of Kobe is one that seems to have been “based on the input from the community” (pg. 124)  as Kobe was a role model to many of the Los Angeles citizens due to his commitment to the city and the Lakers. However, the mural could also be seen as a project to make the street more appealing to visitors. Reed (2005) discusses murals being used for the purpose of, “This project and others like it become struggles between those hegemonic forces of the dominant culture seeking to turn murals into barrio and ghetto “beautification” projects, designed literally to paint over signs of deprivation and exploitation” (pg. 124). By painting over the old and beat-down buildings, it makes the area seem more friendly which would help bring businesses and people together by using the image of Kobe. As Reed references, as Judy Baca was able to put her visions and thoughts into the Great Wall, the artist who painted the mural of Kobe is able to give thoughts of Kobe being the image of the NBA.

The mural protests for the image of Kobe to be the new logo used by the NBA. It has been debated that Kobe is one of the best to have ever played in the NBA. However, it is not just his basketball skills that so many people are attracted to, but to how much he has given back to the community. One of the greatest things he has given back to the community is the facility built here in Thousand Oaks called “Sports Academy”. Sports Academy is a 100,000 square feet and has a variety of courts and weights for working out. This was one of many actions Kobe did to give back to his community. As discussed throughout the paper, Kobe played a large role in not only the lives of those locally, but those around the globe. After Kobe died, there were hundreds of murals that were painted in his memory to commemorate the life he lived and all of his accomplishments. In addition to the murals painted, the NBA changed some of the rules of the All-Star Game as a result of Kobe’s passing. The rule is 24 points are added to the score being targeted to honor him. Through this demonstration, it shows how Kobe made a lasting impact on the NBA and will forever live in the record books.

Google my maps. (n.d.). Retrieved April 01, 2021, from https://www.google.com/maps/d/u/0/viewer?mid=1i5cSTs-nddYdSTBciW8WnCfSW4_LCDLI&ll=34.017173169066496%2C-118.20610323669851&z=18

 

Greminger uses bright colors, fun patterns, and clever shadowing as a background to highlight and isolate the design of a blue heron. My eyes are drawn first to the right side profile of the blue heron that stands at the center of the piece. Behind the bird’s body is a turquoise rectangle with no shadowing behind it, and a golden yellow circle within it, framing the bird’s head. This blue heron appears to be the most important part of the mural, as it stands tall in the center and is the largest individual design on the painting. Surrounding the bird and the rectangle behind it are several other rectangles and squares, coming in different sizes and orientations. The rectangles and squares come in various colors, with drop shadows behind them. If the shape is on the left side of the blue heron, it’s drop shadow is below and to the left of it. If the shape is on the right side, it’s drop shadow is below and on the right side of it. These shadowing details (or lack thereof on the turquoise rectangle in the center) give the illusion that the source of light for the painting is entering from the center. Within these different colored squares and rectangles are vibrant and colorful designs. A majority of the designs within the shapes can be classified as patterns, while others have specific, individual designs in them. A few of these individual designs include a tree, clouds, a bee, the number 541 (the area code for Corvallis), and an owl sitting in a tree stump.

Greminger paints the lively background design of her mural to represent the always changing lives of humans, with the blue heron in the center, representing the importance of pausing to find a calming balance to better grow as a community. “A Call to Balance” is a bright and busy piece, with the background highlighting the calm, tall and elegant blue heron. The artist, Erica Greminger, designed her mural this way in an attempt to convey the message that in our chaotic lives, it is important to stop and find steady tranquility to help ourselves evolve more constructively within our communities. In a chapter titled “Revolutionary Walls'' from his 2005 book, “The Art of Protest”, T.V. Reed argued that murals are not only enchanting creations, but that they also have stories that raise important issues about the politics of the public space the mural resides in (p. 124). He noted that artist Judy Baca achieved this complexity when she worked as the director of Citywide Murals project in Los Angeles. Reed commented, “That project entailed major input from Baca and other Chicano/as, but was also a multiracial effort throughout the diverse neighborhoods of the city. Funded in part by the city, this project also illustrates the deep tensions community murals generate, and the complicated political negotiations they involve” (p. 124). Greminger’s work can be seen as another supporting example of Reed’s claims. While “A Call to Balance” is fascinating to look at, the design itself serves a greater purpose as a reminder that patience, determination, and awareness are crucial for successful growth. The various designs Greminger paints behind the blue heron provide a seemingly busy and chaotic environment meant to resemble the stressful disorder humans face in their everyday lives. With constant technological advancements, the recent COVID-19 pandemic, and other natural stressors in life, it can be difficult for people to take time for themselves to breathe and relax. The blue heron is a calming presence amongst the vibrant and seemingly random background, representing the beauty that can come from taking time for oneself. When talking about Baca’s work, Reed argued that the identity of both Chicana and feminist aided in, “expand[ing] the vision of the Chicano and mural movements toward connection with a wider multicultural resistance force” (p. 123). Greminger’s mural is hoping to achieve a similar goal: expanding the vision of a brighter future as a community by enlarging the amount of people who take time to take a pause and reconnect, allowing themselves to more productively grow both individually and as a community member.

References 

Reed, T. (2005). Revolutionary Walls. In The Art of Protest: Culture and Activism from the Civil Rights Movement to the Present.

The art piece represents the values of religious practices in the catholic faith. Placed strategically on the wall of a mexican restaurant it is bound to attract the support of the latino community who frequent the restaurant. When looking at the piece you can see a few figures, three of which are popes. They all are depicted as kind and gentle men in a serene setting. The Lady of the Guadalupe is pictured in the middle saving a young hispanic man. You can tell he is being saved because the Lady’s arms are outstretched in a motherly gesture and the man has gained wings on his outstretched arms. What stands out in the image are the religious figures. The Lady of the Guadalupe seems to be the most important part as she is the central figure in a triangular shape created by the three popes. What is interesting about the image is the setting. The figures are all surrounded by lush nature to create a sense of peace and tranquility. The picture protests the support of the catholic church with the kindness and peace the image evokes. It lets the audience know that the catholic faith will save one’s soul.It also shows that it is a widely practiced religion because in the top right corner you can see a church with a globe sitting atop. The globalization and promise of divinity and salvation makes the mural an appealing piece to onlookers and a strong case for the values of the Catholic faith. The piece I found is a moving image that can bring community change for the advancement of the catholic community and the addition of more members for the faith.

The Art of Protest by Reed explains how Judy Baca helped produce over two hundred and fifty murals in the 70s. She helped change the stereotype of murals being called graffiti and beautification projects into what they are today, pieces of art. The excerpt details how “Baca and her team thus sought to create a liberated force for community change.” (2005, p. 124) Similarly the mural in Hollywood sought to create community change for the latino community. The art piece brings the community together in a religious sense as many have catholic ties due to heritage. The piece can be a beautiful memorial to the deceased popes pictured and a way to honor the current pope. People can also come to honor the Lady of the Guadelupe. The mural can be a moving moment for one to decide to rejoin or commit to a catholic church as well. In a world where community is a complicated word and religion is taking a backseat to mainstream ideologies, murals can help represent these people who want to belong to a catholic community. As Reed mentioned the purpose of murals are “also celebrating cultures drowned out in the so-called mainstream” (p. 124). The mural offers homage to new and old religious figures to represent how the religion is an eternal movement and will continue to grow in the face of this mainstream motion. The history represented by the mural is a constant reminder of how the Catholic faith has had a huge impact on California. The young boy being saved has indigenous looking feathers which remind us of the conquering of California by Roman Catholics and reminds us of how the faith has lasted to this day. The long history of Catholicism is partially shown here in bits and reminds us yet again that religion is eternal. Another noticeable characteristic in the mural is the occurrence of the cross in multiple spots. The cross is the eternal symbol for Christianity and is like a beacon to the community. Overall, the painting on the side of this mexican restaurant is a call for the community to stand for the Catholic faith. It strengthens the movement for the continuation of worship to these popes and ideologies. Just like Judy Baca’s “Great Wall of Los Angeles”, this mural brings many people together to support a cultural aspect of peace and love.

References:

Reed, T.V. (2005). Revolutionary Walls. In The Art of Protest: Culture and Activism from the Civil Rights Movement to the Present.

English 111, Section 09

Professor Mecenas

April 1, 2021

Muralism is a form of art deliberately created for the public eye. These large paintings typically cover outdoor walls or buildings and are usually connected with a greater message or statement. In 1990, Eva Cockcroft designed and created a vibrant mural for the community of Long Beach. Her mural, Oil, Life, and Ecology, promotes the community values of change and continuous improvement in regards to the environment. In addition, this mural is protesting against global warming, or protesting for improved Earth conservation by raising awareness of this global issue. Currently located alongside a public park, the protest art is in reach of the youth, where it can inspire and influence children to make our planet a better place.

Community values are a common theme included in murals, and Cockcroft’s Oil, Life, and Ecology is no different. There is a large number of variables that go into creating a community mural, including a team and time. T.V. Reed (2005) mentioned how it can often take muralists days, even weeks to determine the project’s location, then weeks more to understand the core values of the community of which it will be placed (pg. 117). Knowing her message and her intentions behind the mural, Cockcroft chose the community and site wisely. In the article, Artist: Eva Cockcroft, it is noted that she “lived and worked in Venice, [California],” not far nor much different than the community of Long Beach. In the mural, she promotes common community values from an environmental standpoint, including the belief that change begins with humankind and the belief of continuous improvement. These values can be derived from the individual images on the wall or from the general message conveyed. The mural includes examples of global warming and other harms to the planet, like oil spills, however, there are also examples of human success included on the wall. For instance, the right side of the mural displays two doctors conducting surgery on a patient and a woman celebrating an achievement of some sort. An article titled Oil, Life and Ecology took note of these conflicting images, “The painting is balanced with scenes of chaotic destruction and scenes of hope for humankind.” The contrast between these scenes represent the community values of change and improvement. Cockcroft is trying to explain to the public how change begins with us, and it is essential we create change in order to improve our environment and reach our potential. 

Beyond the values displayed in Cockcroft’s artwork lies the underlying goal of the project: raising awareness of global warming. Oil, Life, and Ecology is more than just a painted wall. The mural is a form of protest art, as it argues for greater Earth conservation. From images of oil spills and destruction to marine life, to the images of freeway traffic and wind turbines, the mural consists of plenty of examples of environmental threats. In addition, the only text on the entire mural was a message reading: 

Petroleum has been the basis of modern civilization, replacing whale oil, powering transportation, and providing plastics for consumer goods and medicine. On the other hand, it is limited and through misuse it pollutes the oceans and air. Through the human spirit and science, which have taken humanity from watery beginnings to the stars, we must harness unlimited clean energy from Earth, water, wind, and sun to power the future.

From this statement alone, it is clear to the audience that this mural is spreading awareness of the harmful effects we are causing to our planet. Cockcroft is protesting against these damaging practices that are ultimately causing the Earth’s global warming crisis. Included on the aquatic side of the mural is an image of a woman cleaning the oil and debris off of a bird, and to its left is a whale being damaged by the explosion of an oil ship. Towards the middle of the mural is a volcano undergoing eruption and below it appears to be a forest or jungle. These provide excellent examples of the dangers we cause our wildlife and environment due to our human actions. These negligent practices increase the rate of global warming which speeds up the destruction of our planet. 

In light of this information, it can be concluded that Eva Cockcroft was more than just a muralist. She was an activist, and her mural was a form of protest. Oil, Life, and Ecology, encompasses community values such as creating change and improvement for our environment while protesting for an increased awareness of global warming and greater Earth conservation. Although Cockcroft is no longer alive to this day, her accomplishments and aspirations live on through her artwork. The Long Beach mural remains intact, spreading awareness everyday in an attempt to create a healthier and safer planet. As long as the wall behind the mural stands tall, so will the message behind the art. 

References

Artist: Eva Cockcroft. (n.d.). https://www.metro.net/about/art/artists/Cockcroft/. 

Oil, Life and Ecology. Arts Council for Long Beach. (n.d.). https://artslb.org/public-art/oil-life-and-ecology/. 

Reed, T.V. (2005). Art of Protest: Culture and Activism from the Civil Rights Movement to the Streets of Seattle. Minneapolis, MN. University of Minnesota.

Bringing people together is not only about creating communities but also creating a society that is connected based on love and similarities. In this case, Kobe Bryant not only does that but exceeds the standards of bringing individuals together and establishing a legacy that the people will forever hold onto. No matter if you are a fan of him, a fan of the Lakers, a hater, or whatever one may be, we have all been brought together amongst the tragedy that happened in early January of 2020. Murals like this give us peace and remind us of what Kobe meant to the world. The size of this mural holds a big part into how influential Kobe was and still is to this day due to how it represents the community he built not only from basketball but in life as well. The size of this mural and the words “rest at the end, not in the middle” goes to show the mamba mentality Kobe had. Kobe taught most kids or anyone who grew up watching him, like myself, that you have to have the mindset of working hard throughout anything and trust the process if you really want something. The mamba mentality is something I strive for everyday which only goes to show that Kobe left his mark. The most important thing in this mural would be the bond he shared with his daughter Gigi. Two of the most popular pictures of him and his daughter painted on the sides on a wall embrace the family man and father figure he was. He not only was a father to four beautiful girls, but also a coach, mentor, hero, and so much more. He was not just the goat of basketball but did so many other things in life. He is a great example for not only athletes but was creating a world of basketball for women and girls. Kobe has been one of the only male basketball players that has helped in creating a change in the women's basketball world. He even started his own Mamba Sports Academy which has helped advocate for women and established a life of coaching his daughter Gigi there. This piece of art creates unity and helps protest for Kobe to show that we are not guaranteed another day on this earth. “Rest at the end, not in the middle” illustrates how we cannot take anything for granted in life and that we need to be grateful for every breath we take for Kobe, Gigi, and the seven others involved. It goes to show that Kobe is still with us and is greater and bigger than life. The mural holds the purpose of showing the world that we have to be grateful for every day that we live and we have to remember everything Kobe did for this world. 

In a chapter titled “Revolutionary Walls” from T.V. Reed’s 2005 book, The Art of Protest, Reed portrays the effects that artwork can have on a community. Artists like Judy Baca embody the attributes of a creator who make their mark on the world. Not only is Baca a Chicana feminist but she has also “moved this process to a new level of complexity and political power,” (pg. 124). Artists like Judy have influenced muralism which has created a whole new world in terms of the power art holds. This also shows how the mural drawn at 11 by 90 feet of Kobe and Gianna impacts the world by showing us what we have to live for. Mikala Taylor, Tony Concep’ and Michael Ziobrowski, the creators of the Kobe mural created a new level of complexity and power within their artwork due to how they touched the Kobe community. Murals don’t always have to fight to protest something bad rather, “mural movements allow us to see that community is a powerful concept, a powerfully enabling fiction, yet with real points of reference in the world,” (Reed, pg. 126). Reed illustrates that mural movements have brought communities and people together as well as art impacting more people than it ever has before because of the power it holds in our societies today. Not only does the Kobe mural bring our whole world together, it leaves a lasting impression on us as people that we will never forget. It allows us to grieve and brings us together in times of sadness but also reminds us that we can’t take life for granted. Kobe has not only influenced the basketball community but has reached far beyond it. The protest shown through this mural is the voice of Kobe and the things we will never forget that he has taught us.

References

Bersebach, P. (2020, August 25). New mural in Santa Ana honoring the Laker star was being finished on Aug. 24, Kobe BRYANT DAY. Retrieved April 01, 2021, from https://www.ocregister.com/2020/08/24/new-mural-in-santa-ana-honoring-the-laker-star-was-being-finished-on-aug-24-kobe-bryant-day/

Marantos, J. (2020, August 21). 8/24 is Kobe Bryant DAY. expect fanfare and TRIBUTES around L.A. Retrieved April 01, 2021, from https://www.latimes.com/lifestyle/story/2020-08-21/kobe-bryant-gone-but-not-forgotten-on-8-24

Reed, T. (2005). Revolutionary Walls. In The Art of Protest: Culture and Activism from the Civil Rights Movement to the Present.

“A Glorious History, A Golden Legacy” is the largest Filipino-American mural in the United States depicting the history of Philippine heritage located in Unidad Park, a small park in Historic Filipinotown near Downtown Los Angeles. The park has a playground, a picnic area, and a community garden for families in the local community. Across the park is the mural that tells the story of Filipino-Americans throughout history and pays homage to those who dedicated their lives to empower Filipino-Americans in the United States. The most prominent aspect of the mural is the faces of Larry Itliong and Philip Vera Cruz, two activists from the Asian American Movement, beside a golden-yellow star, representing the nation’s independence, at the center of the mural. Larry Itliong and Philip Vera Cruz advocated for better working conditions and civil rights for Filipino and Hispanic immigrants. Similar to the Great Wall of Los Angeles, this Filipino-American mural captures the history of race in America. In the video titled “Muralist Judy Baca & Social and Public Art Resource Center,” Judy Baca asserts that the history of race is difficult to look at, so she wanted to portray “what was the triumph of people over really adverse circumstances, what was the truth, tell the truth, but at the same time see how people transform their lives regardless of what circumstances they came out of.” Eliseo Silva addresses racial discrimination by illustrating a door sign that states “POSITIVELY NO FILIPINOS ALLOWED” to show how Filipino-Americans have transformed their lives despite facing discrimination. “A Glorious History, A Golden Legacy” emphasizes the importance of history in the identity of Filipino Americans in the United States in a way to inspire Filipino-Americans to share the legacy of their culture.

The mural honors Philippine heritage, heroes, and their values of unity, freedom, equality, and hard-work through historical events and cultural symbols. A pivotal event from Filipino American history depicted in the mural was the Delano Grape Strike in which Philip Vera Cruz and Larry Itliong organized a strike along with Cesar Chavez over decades of unsafe working conditions and little pay in the 1960s. For nearly five years, more than 2,000 Filipino and Hispanic farmworkers united to boycott table grapes forcing growers to provide better pay, healthcare, and benefits for farmworkers. The Delano Grape Strike revolutionized the farm labor movement across the country and set a standard for the rights of farmworkers over the coming years. It also led to the creation of the United Farm Workers, an organization seeking to empower migrant workers and improve working conditions and wages, which is still operating today with some of the largest agricultural companies in California. “A Glorious History, A Golden Legacy” honors these activists including Larry Itliong, Philip Vera Cruz, and Cesar Chavez as a major aspect of Filipino American history in the United States. Another important historical event was the People Power Revolution which was a series of demonstrations of civil resistance against electoral fraud and the corrupt dictatorship under Ferdinand Marcos in Metro Manila. Millions of Filipino civilians took to the streets protesting for democracy and freedom from dictatorship. The political event inspired other countries to call for a change of government through peaceful protests. The depiction of the People Power Revolution in this mural represents the unity and freedom of the Filipino people. These portrayals of historical events echo the values of Filipinos across the nation and honor the individuals who dedicated their lives to their people.

Despite having such a large impact on American history, Filipinos have been drowned out and forgotten in America. “This is a way for us to see our entire history together in one big picture in a way to inspire us to be able to fill in the blank canvas that is Historic Filipinotown,” says Eliseo Silva, artist of “A Glorious History, A Golden Legacy” in an interview by Public Matters. “Historic Filipinotown has not yet manifested our culture in a very very loud sense.” The mural is a lasting effort to protest and gain recognition as a significant community from the mainstream public. In the book The Art of Protest by T.V. Reed, when talking about Judy Baca’s work, he asserts, “[The Great Wall of Los Angeles] and others like it become struggles between those hegemonic forces of the dominant culture seeking to turn murals into barrio and ghetto “beautification” projects, designed literally to paint over signs of deprivation and exploitation, and those forces seeking to turn murals into critical sites of communal resistance that precisely point out exploitation, while also celebrating cultures drowned out in the so-called mainstream. The continued power of muralism will lie in resisting the former force and defending the latter” (Reed, 2005, 124). Reed explains that the power of muralism is the ability of a community to unite together to turn murals into centers for resistance from dominating forces to address exploitation while celebrating culture and diversity. “A Glorious History, A Golden Legacy” brings together a multicultural community that resists gentrification and celebrates the Filipino culture providing the local community identity.

“Gintong Kasaysayan, Gintong Pamana” is a representation of Philippine heritage that honors national Philippine leaders and its values. This mural highlights the significance of history in the identity of the Filipino-American community. It also tells the story of the Filipino culture while honoring the values of unity, freedom, equality, and hard work. Lastly, the mural brings together a community that resists gentrification and celebrates Filipino culture that provides the local community with its identity.

References

“Revolutionary Walls.” The Art of Protest: Culture and Activism from the Civil Rights Movement to the Present, by T. V. Reed, University of Minnesota Press, 2019. 

“Judy Baca and SPARC Segment.” Craft in America " Judy Baca and SPARC Segment, www.craftinamerica.org/short/judy-baca-and-sparc-segment. 

“Help Preserve ‘A Glorious History, A Golden Legacy’ Mural by Eliseo Silva!” SPARCinLA, 13 Aug. 2015, sparcinla.org/silva/. 

“Asian American Activism: The Continuing Struggle.” Asian American Activism The Continuing Struggle, blogs.brown.edu/ethn-1890v-s01-fall-2016/historical-figures-and-organizations/filipinx-involvement-in-the-delano-grape-strike-and-the-united-farm-workers-union/. 

Matters, Public. “A Glorious History, a Golden Legacy.” Vimeo, 26 Jan. 2021, vimeo.com/24701579. 

“ Tenochtitlan” is a thing of beauty and rich history. Throughout the mural there is a dragon like creature called the  Quetzalcoatl. It is a feathered serpent that travels throughout the entire 100-foot long work of art. Its feathers also double as a plant that is later growing roots. This is of great importance because it shows that no matter what day and age it is, traditions live on through the people. The people are the past, present, and the future. In the early to mid 1970s, hard financial times fell  upon the United States because of the Vietnam War and T.V. Reed ( 2005) mentions that because of this “ more Chicanos  were  dying  in  the  streets  of the  United  States  from  the  economic  violence  that  leads  to  gangs  and  drug  abuse” (p. 119-120). Economic violence is a type of violence aimed towards disadvantaged individuals. During the mid 1970s’ Los Angeles Chicanos were dying because they were struggling economically. Struggling economically does not just mean they had no money. It can mean that they had restricted access to education, financial resources, and could have had property damaged. The effects of the economic violence in the 1970s remained in the 1990s when the mural was painted. The mural not only began the process of being able to see yourself as a Mexican American as rich culturally, but also the process of other communities or people of other ethnicities being able to see Mexican Americans’ vital contributions in the United States. 

In addition to showing a fascinating cultural history, it took steps towards combating street violence.  How can a mural do that? Look at it this way. Although correlation does not necessarily mean causation, it can be seen that areas with higher levels of gang violence or street crimes have more murals. A big part of this occurrence is because businesses and building owners use art to prevent tagging, or graffiti by gangs marking territory. T.V. Reed (2005) says “ [The Great Wall of Los Angeles] and others like it become struggles between those hegemonic forces of the dominant culture seeking to turn murals into barrio and ghetto “beautification” projects, designed literally to paint over signs of deprivation and exploitation, and those forces seeking to turn murals into critical sites of communal resistance that precisely point out exploitation, while also celebrating cultures drowned out in the so-called mainstream” (p.124). He argues that murals can be a force trying to cover up deprivation by those who caused it, it can also be an opportunity for a community to come together in resistance. “ Tenochtitlan” did just that because of the message it tells as well as the existence being a deterrence for street crime. It is possible to say, however, that the first job the mural does ( changing the way Mexican Americans are seen) can contribute to the second job (combating against street violence). Besides being a physical deterrent for graffiti, the mural can also influence those within the community who belong to gangs. It shows a reason for unity— a shared history of tradition and culture. Another motivating factor for coming together is to form a united front against the dominant culture’s racism towards Mexican Americans, because fighting with each other makes it difficult to come together as one. Reed (2005) reiterates the fact that Mexican Americans were constantly having their culture insulted and were often victims of police brutality. The discrimination was present back then and still continues today. But internal fighting remains a major bump in the road towards equality. 

References

Ortega, Anthony. Mexico-Tenochtitlan Mural. Avenue 50 Studio.
http://avenue50studio.org/mexico-tenochtitlan-mural

Reed, T. (2005). Revolutionary Walls. In The Art of Protest: Culture and Activism from 
the Civil Rights Movement to the Present.

         Painted by Eric Skotnes, a large blue mural of Zeus watches over the warehouses on the corner of Avalon and 62^ndin Los Angeles, California. The cool mural intends to bring awareness to global warming and its devastating effects on our environment. It engages in protest by depicting Zeus, the Greek god of weather and storms, stoically watching as we get increasingly extreme weather every year. Skotnes’ choice of depicting the god may allude to how we are actively setting our own downfall in motion, similarly to what is discussed in some Greek myths. 

         Even when driving in the area, the mural draws your attention the second it catches your eye.  Humans are naturally drawn to faces, which makes the subject an incredibly striking choice. In the article, “Street Art Meets Climate Science in the Big, Blue Face of Zeus” by Mary Braswell, we learn that the color palette is also extremely beneficial in making this piece stand out. Skotnes chose to use a palette of blues and blacks for his work, but what makes it more unique is that the paint literally cools down the wall it is on. The different shades of the special paint absorb varying amounts of heat, which can also be viewed on infrared giving the mural an extraordinary effect. 

         While this mural contains no words it still has an important message it intends to convey, and even if we didn’t know the background of this mural, the image depicted gives us plenty of clues. Most people learn that Zeus is the Greek god of weather and storms in school, so it is not very difficult for the average passerby to decipher the meaning. With the combination of this and the special paint, it is a clever way to bring up the issue of climate change, especially because of its harsh effects on our local communities. It seems like every year the seasons in California get more extreme, causing massive amounts of damage between the uncontrollable fires and hurricane-like winds. The mural intends to make people think about what we are actively doing and how we are destroying the environment, causing temperatures to rise all over the globe. The effect of the mural physically cooling down the wall adds a functional purpose to this mural as well. 

         In The Art of Protest, author T.V. Reed discusses “The Great Wall of Los Angeles” as well as other murals and street art. He talks about how the purpose of these different installations is to give the areas they reside in their own unique beauty. With this, the art also intends to celebrate the different communities present and can raise awareness for different issues that may affect these areas (124). His reference to “the continued power of muralism” (124) is in a way similar to the power of vigilantes, and how they can be on either side of the law but are still beneficial in the end. While some murals and street art may be commissioned, others may not. However, the legality of the art piece does not negate its overall value, as they all have their own meaning and benefits to the communities they were created by. The mural of Zeus discussed earlier is actually a commissioned work and according to Braswell in her article, the mural was started as part of an experiment to test the cooling paint and how it could be used in cities. The mural also aims to add beautification to a rather rundown area of warehouses and industrial buildings. Still, the beauty of these art pieces also brings along with them something not so beneficial: a stigma. 

         When discussing the Great Wall of Los Angeles in the Craft in America video, “Muralist Judy Baca & Social and Public Art Resource Center (SPARC), Neighbors Episode”, Baca states “Nobody in the arts thought this was art. They thought I was a gang member first and then they thought I was a gang worker and then I was a teacher but none of them basically said this is actually an artwork that is a conceptual work, that has at its nature the transformation economically, and culturally, and spiritually to people of this community.” We can see how Baca’s description of the general disgust and lack of formal respect for street art was formed. Even with her plan to use the local communities to depict our history, people in the arts had little respect for her project. The same can be seen with many different murals and street art today. This can be from inherent racism, since these pieces tend to be in lower class communities, or simply from lack of understanding. The art has become more popular and mainstream due to social media and different movements aiming to bring attention to the diverse cultures in our own country, but we still have a long way to go when it comes to the general public understanding them. People might view them to appreciate the art or to snap a cute picture for their social media, but this doesn’t mean they actually understand the meaning behind the art they use. 

         At surface level, the mural of Zeus might seem to have been created the way it was because of the god’s domains. However, if we look more there are many different gods or beings that could have used to represent weather, like Mother Earth. The specific choice of a god from the Greek pantheon can also reference some of its myths. Many of these stories depict characters trying to prevent their downfall, only to cause it in the process. Whether its Oedipus sending his child away to prevent his own death or Kronos devouring his children in order to prevent them from gaining power, things never end well when characters try to change their fate. Unlike these myths, we actually do have the chance to turn things around, but our need to innovate will inevitably lead to our downfall if left unchecked. Our consumer-focused ideals of harvesting materials, even at the cost of destruction within the environments they come from can be changed, and artists like Eric Skotnes are just one example of people actually trying to help save us from our self-prophesied destruction. 

Sources

(Spanish subtitles) muralist Judy BACA & SPARC, NEIGHBORS EPISODE [Video file]. (2018, February 01). Retrieved from https://www.youtube.com/watch?v=LafBrqQJB1A

Braswell, M. (2019, October 22). Street art meets climate science in the big, blue face of zeus. Retrieved March 28, 2021, from https://innovation.luskin.ucla.edu/2019/10/22/street-art-meets-climate-science-in-the-big-blue-face-of-zeus/

Reed, T. (2005). Revolutionary Walls. In The art of protest: Culture and activism from the civil rights movement to the streets of Seattle (pp. 103-128). Minneapolis, Minn: Univ. of Minnesota Press.

Skotnes, E. (2019, October). UCLA X INDECLINE [Photograph found in Murals, Los Angeles]. Retrieved March 31, 2019, from https://www.ericskotnes.net/ucla-x-indecline

Skotnes, E. (2019, October). Unnamed Mural of Zeus [Blue mural of Zeus on an Los Angeles warehouse]. 62nd and Avalon St., Los Angeles.

According to Hawaiian mythology, the story of the hills in Waimea actually begins all the way in Tahiti. As the priest, Pa’ao departed Tahiti, a prophet, Mākuakuamana had requested to join but with the canoe being full Paʻao responded with yes but there is only room for you in the very back of the canoe known as the Manu Hope. With that being said the prophet Mākuakuamana leaped from the cliff and shifted in the Kaupu bird. As Mākuakuamana arrived in Kawaihae, Hawaii he made his way to the uplands of Waimea. He looked up and saw a beautiful rainbow that compelled him to fly over the mountains where he then spotted a beautiful goddess who went by the name Wao. Captivated by each other’s beauty and Mākuakuamanaʻs ability to shapeshift they became married. Wao would go to the hills to give birth to her sacred children to which her servants would roll rocks to the bottom of the hills as a signal that no one could enter. The hills in which the prophet and goddess resided is known as Pali Kapu o na lii o Waimea which translates to the sacred cliffs of the chiefs of Waimea. Fast forward to 1778 when James Cook first arrived in the islands which led to, according to The Hawaii Department of Education, “...the overthrow of the Hawaiian Kingdom in 1893, teaching and learning through the medium of Hawaiian was banned in 1896. Many Hawaiian elders have told of being punished for speaking Hawaiian at school. Hawaiian language would not be heard in schools for the next four generations.” This meant that Hawaiians could not continue the important practice of passing down stories and in these stories, valued knowledge to the following generations. 

T.V. Reed distinguishes that murals are “often involving numerous nonartist from the community in which the mural is to appear and usually based on input from the community” (2005, p. 123-124). Similarly, the creators of Pali Kapu o na lii o Waimea according to Pacific Islanders in Communications, is a combined team of Mele Murals created by Estria Miyashiro and John Hina, along with youth from around the island. In the PBS segment video “Judy Baca and Social and Public Art Resource Center” (2017), Judy Baca revealed the methodology behind the Great Wall of Los Angeles to be stated as,” We work in relationship to the experiences and historical context of a community and we incorporate their work in their stories, their oral histories, their ideas, and we elevate them into public artworks.” By engaging the youth, they are able to learn Hawaiian stories and history which is important because they are the next up. They are going to be the next leaders of Hawaii and by engraving them with the knowledge of where they come from we can only hope they will pass it down to their children and so on. Murals are powerful and as Reed (2005) stated, “point out exploitation while also celebrating cultures drowned out in the so-called mainstream.” In an effort to protest and undo the damage that was done in 1896 when the Hawaiian language was banned, preventing, the passing of stories, this painting of Waimeaʻs hills history in the community forces residents and visitorʻs passing through the town to ask questions. To learn about the town before the story is lost. To breakdown the mural, according to West Hawaii Today, right below the rainbow is a joyful woman who represents the goddess Wao and as she looks to the sky we know she is looking up at her husband, Mākuakuamana, the shapeshifter, the hills above the rainbow are to be representations of the actual hills that stand above Waimea known as, Puʻu Hōkūʻulu and Puʻu Laʻelaʻe which stands just left of the actual mural, and the rocks behind Wao represent the rocks the servants would roll down the hills to signify Wao was giving birth prohibiting the entry of common man. Knowing the meanings and representations of the mural, Pali Kapu o na lii o Waimea, it is evident that Hawaii values its history but also the continued perpetuation of Hawaiian culture and traditions. 

References

Craftinamerica (Director). (2017, October 13). Muralist judy baca & social and public art resource center (sparc), neighbors episode [Video file]. Retrieved March 31, 2021, from https://www.youtube.com/watch?v=4dimAaP30E4

This video explained the motive behind Judy Bacaʻs creation of The Great Wall of Los Angeles. It also shows the group work and group effort it takes to acquire historical facts and the actual painting of the art. 

Hawaii DOE: History of Hawaiian education. (n.d.). Retrieved from https://www.hawaiipublicschools.org/TeachingAndLearning/StudentLearning/HawaiianEducation/Pages/History-of-the-Hawaiian-Education-program.aspx

This website gave me the dates and facts of exactly when the Hawaiian language and practices were banned in Hawaii. This is important because it helped me explain why the mural I selected stands as protest art against the banning of the language that caused some stories to be lost. Pali Kapu o na lii o Waimea is an important reminder to remember where you come from. 

Mele Murals. (n.d.). Retrieved from https://www.piccom.org/programs/mele-murals

This website gave me more information on the program, Mele Murals, that led the project and supervised the kids from different schools. They also helped the kids and community learn the stories of Hawaii and allowed their creativity to flow throughout the mural. 

Person. (2020, December 12). Nā Pali Kapu o nā 'Ali'i. Retrieved from https://storymaps.arcgis.com/stories/570f2ecbc178426e97b5e81

This website explains and further breaks down the story and myth of Wao, Mākuakuamana, Paʻao, and the sacred hills of Waimea. This played a vital role in helping me explain the mural. 

Reed, T. V. (2019). The art of protest: Culture and activism from the Civil Rights movement to the present. University of Minnesota Press.

This book covered important murals such as The Great Wall of Los Angeles created by Judy Baca. Reed explains how murals in general but Baca specifically uses their background and surroundings to advocate for past experiences or exploitations. This helped me explain how the mural I selected did the same. 

     On the Great Wall of Los Angeles I chose a section that stood out to me, shedding light on the fight for justice and equality many minority groups had to protest for over the years. This section of the wall depicts a bus ride with a black man and woman smiling after the Civil Rights Act was passed. This mural displays the positives after the changes have been made, although the unjust treatment is still a relevant problem today, making this protest art even more pertinent. The Gay Rights section of the mural depicts a few police officers going into a closet to get someone out, representing the term “coming out of the closet” to describe someone who comes out as gay. The Daughters of Bilitis section on the mural captures a group of women discussing ways to gain rights for the lesbian community. In Chapter 4, “Revolutionary Walls” of T.V. Reed's book, The Art of Protest, Reed described “the power of muralism” (Reed, 2005, p. 124) as a strong force that covers up previous mistakes from the community. Muralism has the force to be able to strike conversation, spark an elaborate thought process, and raise awareness to the unjust treatment of our past and present. Not only is this mural discussing the Civil Rights Movement, but it is drawing attention to the problems we still face today regarding equality. In short, the civil rights section of the Great Wall of Los Angeles raises awareness to the consistent and ongoing issues our community faces regarding unequal treatment. 

         This piece of mural art provides protest for fair treatment of all individuals while also protesting against our past decisions and beliefs of unjust treatment throughout the community. In the very beginning of the video, "Muralist Judy Baca & SPARC", Baca began art throughout school and always enjoyed it, but she never had any emotional attachment to it. Right after she graduated, she showed her grandmother some of her paintings and states, "for the first time I saw through her eyes, and then I realized it had no meaning"said Judy Baca, artist and activist. She was trained to paint and express herself in a certain way, but after this encounter she found new ways to better portray a meaning of her art through murals. This change of pace for Baca helped her create reasoning and meaning behind her art which eventually led to protesting for, raising awareness, and supporting equal rights, going against our past views and systems involving discrimination. Baca had an entire team helping her create her vision of the mural, who were also all involved in adding their own details and style. As Reed (2005) noted, there was a united, yet free relationship between the workers and Baca in order to create a piece of art that could change the communities perspective on these controversial issues. The goal of protest art is to share one's opinion in hopes that others will eventually agree with it and adjust their original thoughts on a specific subject, which Baca does just that. Baca is able to collaborate with others, and bounce off each other's ideas to hopefully bring attention to the harsh realities of the past. In brief, Judy Baca uses her strengths as an artist to help peacefully protest for change while also protesting against our past of inequality, and what we do not want our society to revert to.  

References 

Muralist Judy Baca & Social and Public Art Resource Center (SPARC), NEIGHBORS episode. (2017, October 14). [Video]. YouTube. https://www.youtube.com/watch?v=4dimAaP30E4&t=14s

Reed, T. (2005). Revolutionary Walls. In The Art of Protest: Culture and Activism from the Civil Rights Movement to the Present.

The mural Division of the Barrios & Chavez Ravine represents the struggle that Latin Americans had when a highway was to be built on the neighborhoods of families that were promised affordable homes, which they did not receive. In an article by Flickr, they explain the story about Mrs. Aurora Archega, who did not leave her home, was carried out by police, and was jailed for 30 days. This story is represented in the mural in which a woman is being carried by a police officer trying to get back to her home. The homes are being replaced by a highway that is leading to Dodger Stadium. This story represents the struggle that Latin Americans had to face when trying to make a living in America. When they tried to make a living in America, they were unable to live a home because of this highway being made. In that area “the Dodgers promised to spend $500,000 on a recreation facility” (Flickr), however, they never did. There are still families that go to that area in order to commemorate the neighborhood.

The Great Wall of LA brings so much history of California together in one piece of artwork. The artist, Judith Baca, is still working on the mural to this day. She represents multiple cultures with her mural and multiple different areas of struggle in each community. Reed states in The Art of Protest, “The mural links diverse communities, weaving a history of interracial conflict into a wider history of shared oppression and resistance.” (Reed, 2005, p. 125) The idea that some of history is shrouded because of so much hate that was a part of the community. However, the community grew because of the struggles that came upon them. A community can grow even closer through struggle and some communities even become stronger because of the struggle. Communities come together through struggle, Reed states that community is powerful, and it enables fiction with real points of reference in the world (2005), community as a concept is strong in numbers. The mural project helped each community see different points of view in different communities in each different struggle that other communities go through. 

 

Reed, T. V. The Art of Protest: Culture and Activism from the Civil Rights Movement to the Present. University of Minnesota Press, 2019.

Project, T. (2007, July 25). Chavez ravine and division of the BARRIOS from the Great wall of Los Angeles. Retrieved April 01, 2021, from https://www.flickr.com/photos/cityprojectca/898881773

      Latino/a traditions and common concepts are portrayed in the “Tree of Life” mural which allows citizens to remember and strengthen their cultural identities and to motivate them to work hard. The mural exhibits significant figures, Dolores Huerta and Cesar Chavez, who assisted in the improvement of work conditions for farm workers. It also portrays different Hispanic traditions such as the breaking of a piñata and street vendors whom individuals have become accustomed to and view as a normality. In the book “The Art of Protest” by TV Reed, he introduces the concept of different groups using murals to improve the appearance of their communities, serve a message of issues and oppression occurring, and also to serve as a motivational reminder to people who are fighting to keep their cultures alive (p. 256). The “Tree of Life”  contributes to the remembrance of the oppression many farm workers, especially Hispanic workers, tolerated to maintain financial stability and the lives lost due to the extreme conditions they were exposed to. Dolores Huerta and Cesar Chavez helped begin the movement of this issue and often used the phrase “Si Se Puede!” which translates to “Yes we can!” The quote is placed on the top center of the mural as a way to provide motivation for viewers that they can achieve anything just as people did in the past. The work they did to bring awareness “had been downplayed, ignored, or overshadowed,” (p. 121) which provides context as to why they were dominant figures in the visual. The constant battle to bring changes for genuine individuals who were solely looking to survive in this world was extremely difficult, yet they were able to achieve many goals and solutions to ending this neglect. Reed states that murals help communities remember the oppression that once occurred in history and help people embrace their culture which is what the “Tree of Life” does through its organized sceneries. The mural serves as a reminder of the past hardships many people experienced and honors figures who fought to bring changes to society that once helped our ancestors. 

      The mural “Tree of Life” is essential in protest by offering public witness through its art to portray the concept that Hispanic culture is powerful and unique. Not many people know what a “paletero” (ice cream vendor) is or how a celebration isn’t complete without a piñata. The mural provides historical significance and it also provides traditions that many Hispanics and other individuals are familiar with. In the PBS segment “Muralist Judy Baca and Social and Public Art Resource Center” (2017), Baca describes the cultural meaning behind her murals and how she seeks to implement positivity rather than displaying difficulties that many people endured. She stated, “The history of race in America is really tough to look at and I didn’t want this really terrible story. I wanted to look at the triumphs of people over really adverse circumstances.” Mural art doesn’t necessarily mean negative events and contributes to the influence of people remembering the good things in life and what they enjoy hearing/seeing. The “Tree of Life” supports Baca’s statement that mural art can be a joyful reminder of people’s triumphs and to spread positivity. The visual provides different activities that are common within Hispanic culture such as a man picking strawberries, which Oxnard is popular for, to symbolize field work and an ocean wave surrounding the people to represent the beaches the city accommodates. The mural serves an important purpose of informing visitors that there are many things the Hispanic community has endured and how Oxnard helps connect them in a way. Judy Baca expresses the power of murals and the way it captivates an audience enough to share a message simply through art rather than words. The “Tree of Life” allows individuals within the community to remember their traditions and learn about historical events that influence them to embrace their heritage and build an identity. 

Works Cited 

Reed, T. (2005). Art of protest : Culture and activism from the civil rights movement to the streets of seattle. ProQuest Ebook Central https://ebookcentral.proquest.com

Community Contributors. (2018). Bilingual report: Oxnard Housing Authority Resident Services Youth Summer Mural Program 2018 unveils a new community mural titled, ‘Tree of Life,’ in La Colonia area of Oxnard! http://amigos805.com/bilingual-report-oxnard-housing-authority-resident-services-youth-summer-mural-program-2018-unveils-a-new-community-mural-titled-tree-of-life-in-la-colonia-area-of-oxnard/

Located in North Hollywood’s Tujunga Flood Control Channel and extending out 2,754 feet is one of the worlds largest murals named The Great Wall of Los Angeles, created by Judy Baca. The Great Wall of Los Angeles honors the history of California and highlights the reality of what was. In specific, one segment of the wall called Migrant California is a very good depiction of all the different ethnicities of people all across California, blending together and creating California. The Great Wall of Los Angeles engages in protests in the way of uniting everyone behind the good and bad history because that is what created California.This mural has an impact on me because it tells the story of my home and how California as we know it today has been made. I believe that this mural will continue to have an impact on me in the future since the history of Los Angeles is still being written.

Judy Baca created the great wall in order to give her perspective on the history of California. In a short documentary on The Great Wall of Los Angeles, Baca describes the wall, when she states, “they become more complex, it becomes funnier, I find my sense of humor in the process because the history of race in America is really tough to look at” (Baca 7:10). Baca is putting her own unique spin on the history of California by using humor to talk about and shed light on issues like race which are otherwise very difficult to talk about. The entire mural is a unique opportunity to be able to experience every bit of history through the lens of Judy Baca and the rest of the artists who worked on the Great Wall. Another part of the mural called Migrant California, stands out to me in particular. In this section of the mural, it starts with the coast of California and then transitions to a variety of different flags behind an immigrant family. As the assortment of flags extends over the immigrant family they start to blend into an American flag and continue over a farm and into the mountains. In my eyes I view the message behind this image as saying over the entirety of California, from coast to coast, is filled with people coming from every corner of the world. This section of the mural also portrays that the United States is the United States because of how diverse it is and the huge variety of races and ethnicities represented. The image of the foreign flags turning into the American flag is so impactful because of the sense of unity and collectivism that it casts on to the viewer. With the mural being 2,754 feet and depicting the entire history of California it is incredible the meaning that only a tiny fraction of that wall can have. The thing that attracted me to The Great Wall of Los Angeles the most is the actual size of it and the fact that it was about Los Angeles California, the place where I have lived all my life. I think the mural is also so special because it is always changing and growing. The Great Wall of Los Angeles is the history of California through the perspective of Judy Baca and the rest of the artists working and will always have room from expansion because the history of California is being written every day.

T.V. Reed’s, The  Art of Protest, Reed explores the significance of Judy Baca and her work in the impact that she has had through her protest art. Judy Baca’s work is not like the protest art before her. Rather, Reed (2005) states that Judy Baca has evolved protest art to a different level of complexity and political power. Reed is saying that Baca has been able to evolve protest art to a new level because of her ability to create so many large and impactful murals, each with a different purpose and different message. Reed states that because of Bacas “dual identity of Chicana and feminist” (2005) she is able to connect her work with a larger audience and is able to connect and impact many more people. Because Baca is so unique and a part of different cultures she is able to connect with each member of those cultural groups and unite them together. One of the reasons that murals are so beautiful is because there are so many artists needed to create a mural. With so many different artists working together on a mural each one is able to put their unique story and perspective into the image. With so many different stories and perspectives in one mural that is where the true beauty and unity come from in a mural.

Reed, T. Art of Protest : Culture and Activism from the Civil Rights Movement to the Streets of Seattle, University of Minnesota Press, 2005. 
The great wall of Los Angeles. (2020, May 05). Retrieved April 01, 2021, from https://sparcinla.org/programs/the-great-wall-mural-los-angeles/

Artist @downtowndaniel

Rayne Selhorst

Art can have an effect on people. Whether it be sparking interest in something, triggering certain emotions, or bringing communities together, art will affect you. For example, While looking at this art piece of Kobe Bryant, my eyes go straight towards Kobe’s smile. I believe that I look there before anything else because his grin is so wide and his happiness shines through the mural. The most important thing in this mural is the love between Kobe and his daughter that is displayed and can be felt even though it is just a piece of artwork. It triggers certain emotions in those who view it. For example, I felt sadness because Kobe wasn’t only a basketball player, he was a dad. In comparison to forms of protest art, both differ greatly, but still affects it’s viewers. By covering up something bad with something that has a positive message, Reed (2005) hints that this is the power of muralism. Almost like a beautiful piece of artwork on a trashcan, the work draws attention off of the canvas it lies on. In Hawai’i protest art is displayed in front of capital buildings, which pushes a strong message of unity and forces people to think about the issues that lie in politics.

      Latino/a traditions and common concepts are portrayed in the “Tree of Life” mural which allows citizens to remember and strengthen their cultural identities and to motivate them to work hard. The mural exhibits significant figures, Dolores Huerta and Cesar Chavez, who assisted in the improvement of work conditions for farm workers. It also portrays different Hispanic traditions such as the breaking of a piñata and street vendors whom individuals have become accustomed to and view as a normality. In the book “The Art of Protest” by TV Reed, he introduces the concept of different groups using murals to improve the appearance of their communities, serve a message of issues and oppression occurring, and also to serve as a motivational reminder to people who are fighting to keep their cultures alive (p. 256). The “Tree of Life”  contributes to the remembrance of the oppression many farm workers, especially Hispanic workers, tolerated to maintain financial stability and the lives lost due to the extreme conditions they were exposed to. Dolores Huerta and Cesar Chavez helped begin the movement of this issue and often used the phrase “Si Se Puede!” which translates to “Yes we can!” The quote is placed on the top center of the mural as a way to provide motivation for viewers that they can achieve anything just as people did in the past. The work they did to bring awareness “had been downplayed, ignored, or overshadowed,” (p. 121) which provides context as to why they were dominant figures in the visual. The constant battle to bring changes for genuine individuals who were solely looking to survive in this world was extremely difficult, yet they were able to achieve many goals and solutions to ending this neglect. Reed states that murals help communities remember the oppression that once occurred in history and help people embrace their culture which is what the “Tree of Life” does through its organized sceneries. The mural serves as a reminder of the past hardships many people experienced and honors figures who fought to bring changes to society that once helped our ancestors. 

      The mural “Tree of Life” is essential in protest by offering public witness through its art to portray the concept that Hispanic culture is powerful and unique. Not many people know what a “paletero” (ice cream vendor) is or how a celebration isn’t complete without a piñata. The mural provides historical significance and it also provides traditions that many Hispanics and other individuals are familiar with. In the PBS segment “Muralist Judy Baca and Social and Public Art Resource Center” (2017), Baca describes the cultural meaning behind her murals and how she seeks to implement positivity rather than displaying difficulties that many people endured. She stated, “The history of race in America is really tough to look at and I didn’t want this really terrible story. I wanted to look at the triumphs of people over really adverse circumstances.” Mural art doesn’t necessarily mean negative events and contributes to the influence of people remembering the good things in life and what they enjoy hearing/seeing. The “Tree of Life” supports Baca’s statement that mural art can be a joyful reminder of people’s triumphs and to spread positivity. The visual provides different activities that are common within Hispanic culture such as a man picking strawberries, which Oxnard is popular for, to symbolize field work and an ocean wave surrounding the people to represent the beaches the city accommodates. The mural serves an important purpose of informing visitors that there are many things the Hispanic community has endured and how Oxnard helps connect them in a way. Judy Baca expresses the power of murals and the way it captivates an audience enough to share a message simply through art rather than words. The “Tree of Life” allows individuals within the community to remember their traditions and learn about historical events that influence them to embrace their heritage and build an identity. 

Works Cited 

Reed, T. (2005). Art of protest : Culture and activism from the civil rights movement to the streets of seattle. ProQuest Ebook Central https://ebookcentral.proquest.com

Community Contributors. (2018). Bilingual report: Oxnard Housing Authority Resident Services Youth Summer Mural Program 2018 unveils a new community mural titled, ‘Tree of Life,’ in La Colonia area of Oxnard! http://amigos805.com/bilingual-report-oxnard-housing-authority-resident-services-youth-summer-mural-program-2018-unveils-a-new-community-mural-titled-tree-of-life-in-la-colonia-area-of-oxnard/

If people did not already know, during World War 2, the Japanese American community experienced mass amounts of racism, stereotyping, internment camps, and harsh treatment because of their ethnicity and the conflicts between the United States and Japan. This story is brought to life in the Great Wall of Los Angeles mural because it uses creative images to represent what actually happened during that time, and it shows who the 442nd infantry division was and all that they accomplished. Reed described murals as, “no medium better equipped to express this solidarity-in-difference than the wordless form of the mural where the complexities of verbal political positionings are muted in a visual language of pure juxtaposition-- all the figures forming a single united front of resistance” (pg. 111). Since there are no words on this mural, it is up to the viewers to depict the illustrations. Because this particular mural is pretty straightforward, there is not much information on it other than the history behind the painting. One part of the mural that stands out is the American flag turning into Japanese men saluting to the crowd looking at the artwork. This could represent how the men in the 442nd battalion chose to fight for their country despite how people treated them, and how they wanted to prove to society that they were loyal to their country and not traitors. In the history of World War 2, they were not initially allowed to serve in the war because of their race, and instead they were given curfews, restrictions, and were even put in internment camps. Eventually, they were able to create an all Japanese combat team, and they ended up fighting in the war. They also have a stern facial expression because they accepted how they were treated, and instead used this to fuel their effort and pride in what they did. They wanted to bring honor to their names and families, so they did what had to be done for future Japanese American generations. 

Another graphical detail on the mural is the field items and everyday objects such as rakes, shovels, and hats, that were all being thrown in a pile. This could demonstrate how these men gave up their lives to serve in the war in order to represent their ethnic people and fight for their country. Despite having to endure hardships, they continued to work hard and fight for what was right. The 442nd Regimental combat team ended up being the most decorated unit in the history of American warfare, and they did this all without complaining about their situation. Though they experienced racism and judgement from their country, they chose to continue to help defend their country. Thus, this mural encapsulates the history of these men for many to continue to learn about and remember, and it engages in protest by offering a public witness to experiences that the Japanese American’s had to endure, and challenges that they still might face. As Reed would say, “the mural links diverse communities, weaving a history of interracial conflict into a wider history of shared oppression and resistance” (pg. 125). In addition, although this mural is quite literal, it still allows room for interpretation, and it keeps the 442nd battalion’s history alive. These neighborhood murals capture historical figures so that they can become “important textbooks that [spur] an interest in history” (pg. 109), and historians could carry the movement to high schools and colleges to continue to teach about respected heritage and identity in their educations. 

References:

The great wall of Los Angeles. (2020, May 05). Retrieved April 01, 2021, from 

https://sparcinla.org/programs/the-great-wall-mural-los-angeles/

Daniel Inouye: A Japanese American Soldier's valor in World War ii (U.S. National PARK 

SERVICE). (n.d.). Retrieved April 01, 2021, from https://www.nps.gov/articles/inouyeww2.htm

Reed, T.V.. Art of Protest : Culture and Activism from the Civil Rights Movement to the Streets of 
Seattle, University of Minnesota Press, 2005. ProQuest Ebook Central, http://ebookcentral.proquest.com/lib/callutheran/detail.action?docID