Tag: Culture

Excerpts

A Kiss across the Ocean

Richard T. Rodríguez

A FRIEND NAMED SIOUX

In their introduction to the anthology Goth: Undead Subculture, Lauren M. E. Goodlad and Michael Bibby identify Sioux as one of goth’s founding figures. They write that Sioux, “who began her career as a gothic doyenne in the Sex Pistols’ scene, helped to popularize a look characterized by deathly pallor, dark makeup, Weimar-era decadence, and Nazi chic” (2007, 1). While one might take issue with their conflation of Sioux’s styles that span a significant period of time (particularly when her adoption of “Nazi chic” was an early, brief, and much regretted move that assented to the miscalculated punk attempt at subversiveness by wielding the swastika on an armband or T-shirt), Goodlad and Bibby are right to note her significant role in popularizing what we now understand as goth.[1] However, on numerous occasions, Sioux and Banshees bassist Steven Severin have commented on their association with goth, often times referring to it as “goff” to signal a clichéd performance that has flattened rather than highlighted the nuances underscoring the band’s music. As Sioux asserts, “Gothic in its purest sense is actually a very powerful, twisted genre, but the way it was being used by journalists—‘goff’ with a double ‘f’—always seemed to me to be about tacky harum scarum horror and I find that anything but scary. That wasn’t what we were about at all. There was something hippie about it too. Juju [the Banshees’ fourth and undeniably most critically acclaimed album] did have a horror theme to it, but it was psychological horror, nothing to do with ghosts and ghouls” (Paytress 2003, 106, emphasis added). Noting that they were “reading a lot of Edgar Allan Poe at the time” (107), Severin admits that while the band indeed described Juju as “gothic” upon the album’s release, journalists had not picked up on or immediately classified the music and the band as such. Cited as a key influence on subsequent artists, Sioux clarifies that the “strong identity” of Juju was diluted: “The goth bands that came in our wake tried to mimic [us]. They were using horror as the basis for stupid rock ’n’ roll pantomime” (107).

While the “psychological horror” characteristic of the album and much of the band’s music runs more in the vein of The Twilight Zone than Dracula (or as one-time Banshees guitarist John McGeoch recalls, “More blood dripping on a daisy than scary beast sinking its fangs into its victim” (Paytress 2003, 107), it is also about the everyday alienation experienced by those on the periphery. Indeed, Severin notes that the track “Halloween,” which based on title alone may seem to conjure that yearly celebration’s attendant ghosts and ghouls, is based on a revelation the bassist had as a six-year-old: “I suddenly realised that I was a separate person. I was no longer simply a part of things. And once you realise that, you’ve lost a certain innocence.”[2] As the lyrics substantiate, “‘Trick or treat’ / The bitter and the sweet / The carefree days / Are distant now.” And while Siouxsie became, as Mark Paytress points out, “a style icon for a generation of ambitious, thrill-seeking young women” who visually emulated their rebellious idol, she and the Banshees sounded a marshaling call for outsiders everywhere to stand and be counted.[3] Recounting how she was bullied daily at school as a child, Garbage lead singer Shirley Manson saw in Siouxsie a rebel with whom she could identify, and the Banshees’ music provided the stimulus for converting her disenfranchisement into the feeling that she could rule the world.[4] Moreover, in her foreword to Paytress’s biography, Manson reasons that miscategorizing the band as goth dulls the “real edge” of Siouxsie and the Banshees. Their music, she maintains, reveals “so much articulated spite, humour and politics with a small ‘p’” while refusing to perambulate “down that simple, gloomy path” (Paytress 2003, 9).

In the band’s assessment of Juju and its contested gothic impulse, what I find most remarkable is Severin’s following confession: “If there was a band that influenced what we did on Juju it was The Cramps. Not musically, because they were much more rooted in straightforward rock ’n’ roll, but in terms of some of their imagery and the way they came across” (Paytress 2003, 107). The Cramps—described by one journalist as “the scariest band of all time” (Tashjian 2018)—were an American punk band that began to take shape in Akron, Ohio, in 1974 and took flight the following year in New York City. Consisting of the husband-and-wife combo of vocalist Lux Interior and bassist Poison Ivy, along with guitarist Bryan Gregory and numerous drummers in their early years, the Cramps—after making a momentous impact on the formative New York punk scene and playing noted venues like CBGB and Max’s Kansas City—relocated to Los Angeles in 1980. According to Ivy, “We didn’t move to LA because the scene was in LA, it was because there was no scene any more that there was no reason to stay in New York” (Porter 2015, 163). And at that time, Lux notes, “New York [was] concentrating on British bands or out of town bands” (163). Indeed, 1980 was the year Siouxsie and the Banshees would first tour the United States.

Severin’s aforementioned comment that the Banshees drew influence from the Cramps makes sense for how the former crafted their persona after the latter, based not on their music but on their “imagery” and “how they came across.” When comparing the image of the Cramps and Siouxsie and the Banshees, what becomes apparent at this particular moment is that they both boasted an undeniable psychedelic aesthetic that flew in the face of an assumed perpetual adornment of all-black gear. One might also point to Ivy’s and Siouxsie’s teased big hair or both bands’ affinity for classic horror and psychological thriller films (which, despite each group’s distinct musical styles noted by Severin, is titularly registered by the Banshees’ “Spellbound” and the Cramps’ “I Was a Teenage Werewolf ”).[5] And like the Banshees, “The Cramps were a fully formed vision. People think, ‘Ooh horror movies, and ooh black.’ But no, it’s so much more than that. . . . It was a whole lifestyle. A manifesto” (“Kid Congo Powers Oral History” 2005). In view of their association, I want to signal another link between the two bands: the bond shared by Siouxsie and the Cramps’ one-time guitarist, Kid Congo Powers.

The same year Siouxsie and the Banshees first toured the States, Kid (né Brian Tristan), a third-generation Mexican American born in La Puente, California, joined the Cramps to replace Bryan Gregory on guitar. Introduced to a variety of musical traditions and genres from his family, Kid recalls hearing Mexican rancheras at weekend family parties and bands like the Beatles and the Rolling Stones (and “low-rider music, doo wop, oldies, a lot of soul and funk music, a lot of Santana, Jimi Hendrix, and Black Sabbath”) while growing up.[6] A thirteen-year-old “big magazine hound” who pored over the pages of Creem and Rock Scene, he learned of Lou Reed, Iggy Pop, the New York Dolls, Television, Patti Smith, and others defining the 1970s New York City glam and emergent punk scene, eventually becoming the Ramones fan club president. In 1977, the seventeen-year-old Brian traveled with a school group to Europe. With London as one stop on the trip, he and a friend split off from their peers “and just went to concerts the whole time and sought out punk rock record stores.” As he recalls, “I went to this club, the Vortex Club, and I saw the Slits play and dif­ferent bands. And the Clash were hanging out and Siouxsie and it was all very very very exciting. I was like seventeen—not even eighteen yet. And I got a punk rock haircut and came back to NY at the time and saw the Dead Boys and the Heartbreakers and went to CBGB’s and went back to LA quite informed with what was going on” (“Kid Congo Powers Oral History” 2005).[7]

A devoted fan of the Cramps, the twenty-year-old Kid was beyond elated when invited to join the band as their guitarist upon Gregory’s departure.[8] Renamed “Kid Congo Powers” by Poison Ivy and Lux Interior from a Santeria candle with the inscription “When you light this candle, Congo powers will be revealed to you,” Tristan added “Kid” because he “thought it sounded like a boxer or a pirate” (Porter 2007, 87–88). Appearing on two of the band’s signature releases—Psychedelic Jungle (1981) and the live mini-album Smell of Female (1984)—he remained with the Cramps until September 1983. In an illuminating 2005 oral history with the online publication New York Night Train, Kid details his abiding relationship with Siouxsie over the duration of his membership with the Cramps, the Gun Club (the LA-based country/cow punk/post-punk band to which he was recruited by longtime El Monte friend and collaborator Jeffrey Lee Pierce, who in his book Go Tell the Mountain identifies Siouxsie and the Banshees as “friends more or less” [(1998) 2017, 45]), and Fur Bible (a collaborative endeavor with Patricia Morrison—bassist and cofounder of the Bags and later a member of the Sisters of Mercy—and drummer Desperate). In Kid’s words:

We had been friends with Siouxsie for a long time. I had actually met Siouxsie and the Banshees, the whole band, when I was in the Cramps and we did some shows together and I befriended them. Billy Holston, who was their assistant, right-hand man—he’s the guy who made the Fur Bible cover, the artwork on that—he was a champion of our band. And he suggested it to them. And the Gun Club had played some shows with the Banshees as well and they were big fans of the Gun Club. And so they asked us to go on a tour with them and of course we said yes. And that was good because they were really popular at the time. We played at the Royal Albert Hall, where Bob Dylan played, and we played at big theaters everywhere in England. I guess we went over OK. I don’t remember. (“Kid Congo Powers Oral History” 2005)

After the Gun Club’s split in 1984, Fur Bible lent their support to the Banshees, opening a number of shows for the Tinderbox tour. From their reformation two years later in 1986 until their final days in 1996, Siouxsie remained a fan and friend to both the band and Kid.

In Donna Santisi’s landmark book of photographs, Ask the Angels (originally published in 1978 and redistributed in 2010), Kid and Siouxsie are captured together during a 1982 visit to Disneyland in Anaheim, California.[9] Santisi provides the backstory:

One day Siouxsie Sioux wanted to go to Disneyland. It was Sioux, Kid Congo, Marcy Blaustein, Randy Kaye, and me. Sioux was really excited when we got there but once we were on Main Street, two security men came up to her and told her she had to leave. They said that she looked like an attraction and it would confuse the people in the park. Siouxsie was telling the men that she just wanted to see everything and go on the rides. They finally agreed that Sioux could stay if she covered up with Randy’s raincoat. We were followed all day by several security people with walkie talkies.[10]

Capturing Sioux’s delight in absorbing the sights and attractions of Disneyland, Santisi’s photography, as Kid keenly notes, “catches the subject matter at ease, casual, yet exciting” (Santisi [1978] 2010, 32). Since encountering these photos, I have diligently studied their details. Not only do they index the globally recognized theme park I’ve visited since childhood, given its location in the next city over from where I grew up, but they register an unmistakable intimacy between Siouxsie Sioux and Kid Congo Powers.

In the two photos reproduced in Santisi’s book—one in which they flank the walkaround character Br’er Fox culled from the animated sequences of the Disney film Song of the South (Foster and Jackson 1946) and the other capturing the two sharing a ride on the Tomorrowland Rocket Jets—Kid and Siouxsie, with their almost identical big, black manes, recall Severin’s comparison of the Banshees and the Cramps. In this instance, though, the Cramps are represented by this Chicano from the Los Angeles suburb of El Monte whose discernable brownness contrasts with his friend’s pallid complexion, yet his chosen aesthetic categorically matches that of the former suburban Bromley recluse turned Ice Queen. With Disneyland—a wider-scale Wonderland of sorts—serving as one spatial point of contact, Kid and Siouxsie’s post-punk transatlantic intimacy manifests in Santisi’s photos that connote unequivocal joy and affection. Apparent in the discernable touch shared by Siouxsie and Kid in the small space of the jet, one may also, following Tina Campt (2017), listen to this image to hear their respective bands’ sonic intimacy. And I can’t help but imagine my ten-year-old self at nearby Disneyland on the same day as Siouxsie and Kid, admiring these outcast and defiant figures whose names I would learn three years later from music magazines, not unlike those publications the young Brian Tristan, also as a thirteen-year-old queer Chicano Southern California kid, intently read with the information discovered on their pages solidly committed to memory.[11]

Troy Andreas Araiza Kokinis, in his poignant essay “El Monte’s Wildweed: Biraciality and the Punk Ethos of the Gun Club’s Jeffrey Lee Pierce,” writes about the “otherness” uniquely experienced by Kid and Pierce
(whose mother was Mexican and who felt at home in Southern California Mexican American culture) in relation to the punk and alternative music scenes. For Kid, Kokinis writes, “the Hollywood punk scene” was “a site of refuge for weirdos and outsiders of all types, including racialized people and gender queers,” whereas Pierce, despite “being a white-passing biracial Chicano,” “remained uncomfortable with whiteness throughout his life” (2020, 237, 238). Yet Kid, noting his inability to pass as white, concedes his incessant outcast status: “America is white culture and Anglo culture. No matter how I do not even speak Spanish; I was raised as anyone would be in LA. But you still feel like an outsider” (238). With the combined dimension of his queer sexuality, Kid declares a “built-in otherness and built-in bucking the system,” thus prompting his ability to “shine and belong, to others” (238). Given her history as a social outcast and her alliances forged with kindred outsiders like those making up “the Bromley Contingent,” Siouxsie’s bond with Kid Congo Powers makes complete sense not only with respect to their mutual admiration as artists but also based on the affinitive alignment of a gay Chicano man in a predominantly white subculture and a woman fronting an all-male band in a mostly male music scene. And while the body of writing about the participation of queers and people of color in punk contexts in either the US or the UK has exponentially grown, there’s also much to be said about the relationships cultivated between American musicians of color and British post-punk artists in these often-overlapping music scenes.[12]


NOTES

[1] Chapter 3, focused on the Northampton band Bauhaus, engages in a more thorough discussion of goth, particularly around the 1979 single “Bela Lugosi’s Dead,” their most famous song, considered by many the first goth record and the unofficial goth anthem. Siouxsie has on more than one occasion expressed her regret for wearing the swastika, primarily on an armband. As she explains, “Maybe I had been naïve in thinking people would understand what I was doing with the swastika. I must have been, because we started to get a lot of National Front skinheads turning up to gigs. They used to piss me off so much. I tried everything to stop them coming, drawing attention to them and slagging them off, even stopping a gig and beating the shit out of them a few times. But they just wouldn’t fuck off. I was so pissed off that I decided to use another equally strong symbol, the Star of David, which would completely alienate the idiots. When we played this gig in Derby, we tried everything to stop them, but nothing seemed to work. So we went off stage, put the ‘Israel’ T-shirts on and did ‘Drop Dead’ with the lights spotlighting them. It was fantastic. The whole audience felt empowered and turned on them” (Paytress 2003, 104). Despite adopting the Star of David on T-shirts and for their single “Israel” (and featuring “Red over White” on the B-side) as “an atonement” and writing the song “Metal Postcard (Mittageisen)” in the memory of anti-Nazi visual artist John Heartfield, journalists and scholars continued to take note of the too-casual incorporation of Nazi imagery in punk contexts of which Siouxsie was a part. For a discussion on Sioux’s range of styles, see Kevin Petty (1995), “The Image of Siouxsie Sioux: Punk and the Politics of Gender”; and Simon Reynolds and Joy Press, The Sex Revolts: Gender, Rebellion and Rock ’n’ Roll, which notes how Sioux’s “career has consisted of an endless succession of costume changes and sexual personae” (1995, 291). Lucy O’Brien’s ([1995] 2020) foundational She Bop also provides an excellent arch for assessing Siouxsie’s initially controversial public image to her sui generis role in the British punk and post-punk scenes.

[2] Severin’s words are from the liner notes written by Mark Paytress for Polydor’s 2006 remastered cd release of Juju.

[3] The persistence of the Siouxsie clone extends into the recent present, as illustrated in a 2013 episode of the American sketch comedy television series Portlandia, where the character Alexandra models herself after Siouxsie, hilariously mispronouncing her name “Suxie Sux.”

[4] Taken from Manson’s interview in The Queens of British Pop (Newton 2009).

[5] These songs are no doubt nods to Alfred Hitchcock’s Spellbound (1945) and Gene Fowler Jr.’s I Was a Teenage Werewolf (1957).

[6] For additional information, see “Kid Congo Powers Oral History” (2005).

[7] For an insightful local history of Kid Congo Powers, see Melissa Hidalgo (2021), “Gente from La Puente: Underground Punk Icon Kid Congo Powers Still Rocks.”

[8] John Wombat’s (2018) The Cramps, Beast and Beyond: A Book about Bryan Gregory provides an insightful account of Gregory’s personal history.

[9] Additional Santisi photos of the Disneyland visit can be found in Ray Stevenson’s (1986) Siouxsie and the Banshees: Photo Book, although they are reproduced in a much smaller scale. I thank Donna Santisi for clarifying that her photos were taken in January 1982.

[10] This Santisi quote is taken from an interview with Alice Bag (2016).

[11] For an interesting analysis that understands Kid Congo Powers’s future embrace of the vampire (and hus tallying another example of what she calls the “Chicano Dracula” figure) see Paloma Martinez-Cruz (2020), “Chicano Dracula: The Passions and Predations of Bela Lugosi, Gomez Addams, and Kid Congo Powers.” Martinez-Cruz’s argument about Kid Congo Powers-as-vampire superbly assists in refusing his categorization as some standard-issue goth.

[12] In the case of the former, see Alice Bag’s (2011) excellent autobiography Violence Girl: East L.A. Rage to Hollywood Stage, a Chicana Punk Story; Jayna Brown (2011), “‘Brown Girl in the Ring’: Poly Styrene, Anabella Lwin, and the Politics of Anger”; Michelle Cruz Gonzales (2016), The Spit Boy Rule: Tales of a Xicana in a Female Punk Band; Colin Gunckel (2017), “‘People Think We’re Weird ’Cause We’re Queer’: Art Meets Punk in Los Angeles”; and Celeste Bell and Zoë Howe (2019), Dayglo! The Poly Styrene Story.


SOURCES

“Kid Congo Powers Oral History.” 2015. New York Night Train. October. http://www.newyorknighttrain.com/zine/issues/1/oralhist.html.

Goodlad, Lauren M. E., and Michael Bibby, eds. 2007. Goth: Undead Subculture. Durham, NC: Duke University Press.

Paytress, Mark. 2003. Siouxsie and the Banshees: The Authorized Biography. London: Sanctuary

Porter, Dick. 2007. The Cramps: A Short History of Rock ’n’ Roll Psychosis. London: Plexus.

Porter, Dick. 2015. Journey to the Centre of the Cramps. London: Omnibus.

Santisi, Donna. (1978) 2010. Ask the Angels: Photographs by Donna Santisi. Los Angeles: Kill Your Idols.

Tashjian, Rachel. 2018. “In Praise of the Cramps, the Scariest Band of All Time.” Vice, October 24. https://garage.vice.com/en_us/article/9k74m8 /the-cramps-style.

Richard T. Rodríguez is a Professor of Media & Cultural Studies and English at the University of California, Riverside.

Copyright Duke University Press, 2022

You can purchase the book here: https://www.dukeupress.edu/a-kiss-across-the-ocean

ArticlesPhotography/Art

The Gravity of Things: Grounding landscape parliaments in California’s borderlands

Karl Kullmann

Rolling down under: protesting the proposed fencing off of the people’s hill at New Parliament House, Canberra, Australia. Image credit: Lukas Coch / AAP, reproduced with permission.

An imaginative form of protest took place on the other side of the world in 2017 as some Australians took to rolling down grassy slopes at the heart of the nation’s capital of Canberra.[1] Although it appeared lighthearted, the motivations of these tumbling citizens were quite serious. They were rolling down Parliament Hill, situated at the heart of Canberra’s constellation of avenues and topographic landmarks. They were rolling to exercise an egalitarian ideal that was originally embedded in the design of the New Parliament House.

When conceptualizing the design in the 1980s, the New Parliament House architect Romaldo Giurgola sought to place the people above the parliament, rather than subservient to it. While this ideal has since been expressed in other parliaments—such as Foster and Partner’s gravity defying ramp that spirals above the Reichstag in Berlin—the design for Australia’s Parliament took the radical approach of burying the parliamentary chambers beneath a publicly accessible grassy knoll. This fusion of parliament and landscape sought to embrace the aspirations of all inhabitants and their interdependence with the timeless landscapes of the Island Continent.

The people’s hill: New Parliament House, Canberra, Australia. Image credit: John Gollings, reproduced with permission.

As landscape poetics go, it is a beautiful notion. Yet it is also selective, in the sense that First Australians have never identified with, or felt included in, the narrative of the people’s hill. The Aboriginal Tent Embassy, which for almost half a century has continuously occupied the lawn at the foot of Australia’s Parliament House, embodies this implicit exclusion.[2]

This exclusion remains unresolved, with global events overtaking Giurgola’s egalitarian gesture after little more than a quarter of a century in the ground. The concept of the people’s hill was initially eroded with the tightening of security following the trauma of September 11, 2001. Then, in September 2017, the object of the people’s protest materialized: a nine-foot high welded steel security fence was erected around the hill to finish the job once and for all.[3] By sealing the knoll—and its legislature—off from its citizens, the new fence invokes a fortified medieval hill town that has shut the gate on its hinterland.

Shutting the gate on the people’s hill: fencing off New Parliament House, Canberra, Australia. Image credit: Kym Smith / Newspix, reproduced with permission.

And so, the people roll no more. As is also evident in the worldwide barricading of public space to repel vehicular terrorism, fencing off Australia’s Landscape Parliament is deeply symbolic. It reveals a feedback loop, whereby political systems are pushed further and further away, even as the ideal encapsulated in the people’s hill would seem ever more relevant to many political predicaments on other continents, including here in California.

To comprehend why a landscape parliament in the land Down Under was worth rolling for—and why it is relevant to California—entails venturing a thousand years back in time to Iceland.  The land of ice and fire is steeped in geysers, glaciers, volcanoes, and Sagas. Amidst this storied landscape lies Iceland’s most hallowed ground, where from the year 930 to 1798, Thingvellir (Þingvellir) served as the dramatic venue for the world’s first parliament. Unlike the climate-controlled buildings that house contemporary political forums, Iceland’s parliament was held out under the open sky. Each year, Icelanders gathered amid the rocky fissures formed by diverging tectonic plates to discuss important matters of concern.[4]

Site of the ancient landscape parliament of Thingvellir, Iceland. Image credit: Karl Kullmann.

In reference to its topographic setting, the name Þingvellir translates loosely as meeting valley in English. And while the correlation between vellir and valley is evident, understanding the other half of the name is more complicated. Although Þing is etymologically connected to the English word thing, it is unlike anything we know today. In Old Norse, Þings referred to landscape-based forums for discussing important community matters. Indeed, while the dramatic setting and near millennium of constant use make Thingvellir the most celebrated example, Thing parliaments were established in many locations throughout the Viking world. Their names live on in places such as Gulating in Norway, Tingwalla in Sweden, Tinganes in the Faroe Islands, Tingwall in Shetland and Orkney, and Tynwald on the Isle of Man.

The etymology of Þing can also be traced further back to the ancient Germanic proto-parliamentary Ding.[5] Referring to a general assembly or court of law in Old High German, Dings were often sited in topographically prominent locations that typically included megaliths, springs, or distinctive trees. These meanings were also absorbed into English, with traces of Þing and Ding still retained in thing, in the sense that we might say that someone “knows a thing or two” to imply that they comprehend the issues at hand.[6]

But these traces hang by a thread. In today’s industrialized world, we are far more likely to understand things as the many inanimate objects that surround us with our own indifference. Today, things are just the peripheral stuff that we overlook and often can’t be bothered to call by name. We might run an errand to “buy some things” or observe that we “forgot something.” And as the Internet of Things vaporizes our interaction with everyday appliances into the Cloud, our collective ambivalence towards things seems destined to increase.

Dispensing with things. Self Portrait as Revealed by Trash: 365 days of photographing everything I threw out, gallery exhibit, 2004-2008, Tim Gaudreau. Image credit: Tim Gaudreau, reproduced with permission.

To understand why the language of things changed so profoundly over the centuries—from the discussion of important matters to the trivialization of dispensable objects—entails travelling again. Even as Thingvellir’s parliament continued to operate within the unique and isolated landscapes of Iceland, things were subject to new forces of transformation in Continental Europe. As Europe modernized and political control centralized, the process of land enclosure began to displace the feudal commons that Thing parliaments had traditionally occupied. With no place left in the landscape, Thing parliaments moved undercover, and in time, into the fully enclosed buildings that inhabitants of the industrialized world take for granted today.[7]

In addition to parliaments, other culturally significant forums such as markets, performance spaces, and religious ceremonies also came in from the cold. Extrapolating this process to the present day, enclosure takes the form of industrially scaled agriculture within endless fields of climate-controlled hydroponic greenhouses.

The Sea of Plastic: the fully enclosed agricultural landscape of Mar del Plástico, Almeria, Spain.  Image credit: George Steinmetz, reproduced with permission.

Whereas Things once referred to landscape-based community assemblies for discussing important issues, the enclosure of these forums led to things becoming understood more as the objects that surround them. With things now conceived more as objects than as issues, this shift also had profound implications for conceptions of landscape. Divested of its thingness, the landscape became more of a passive receptacle of physical things than a political Thing inherently.[8] So much so, that today it is hard to imagine landscape in any other way than as a benign scene or as ‘threatened’ nature in need of human assistance.

In this world, the landscape bears the scars of objects and events, but no longer takes a seat in the parliament that it once cultivated. And despite the promise of a seamless globe in which humans, capital, and wildebeest move without friction, the landscape is riven with more fissures than ever before.[9] These divisions take the form of walls between nation states, infrastructural ruptures within communities, socio-economic inequality, fragmentation of ecological biomes, and so forth.

Gathering at the edges: migrants attempting to cross the Macedonian Border from Greece, 2015. Image credit: Nikos Arvanitidis, reproduced with permission.

And yet, many of the most pressing issues that define the present Age of the Anthropocene transcend these barriers with impunity.[10] Walls do not readily circumscribe global warming, nuclear radiation, antibiotic resistance, non-biodegradable plastics, or global human migration. And unlike the everyday things that surround us all, these hyper-things are so vast and enduring that they often defy human scales of comprehension. They reveal a yawning gulf between our hazy awareness of the things that matter and our limited capacity to discuss, let alone address them.[11]

What to do? The issue here is one of horizons. From within houses of legislature or parliament, our shared political horizons are simply too inhibited to accommodate the scale and scope of the Anthropocene. In response, a city, a state, a nation, or even a coalition of nations, may seek to construct more expansive parliaments under which to gather ever-larger political assemblies.[12] And yet, even if these forums were to rival in enormity the largest sporting stadiums on Earth, they would still be buildings. And as buildings, they remain historically bound to the enclosure of political gatherings, and subsequent diminishment of Things into things.

For all their proficiency in keeping the rain out and the politicians in, buildings can never truly become Things. How, then, might the ancient conception of the landscape parliament be re-imagined to stretch our shared political horizons in order to more adequately encompass contemporary matters of concern? That is, how might some of the lost agency of landscape be rediscovered within the political process? How might some of the Thingness of things be recovered?

This is not to imply that Californians begin dissolving Capitol Hills and City Halls and repatriating venues of governance out into the landscape in a futile attempt at refashioning Thingvellir. It is not possible to just go back and recreate Things because the nature of contemporary political processes and assemblies has profoundly changed. To take Things literally in this way would probably just add to the assortment of unused public amphitheaters that unwittingly reify nostalgic yearnings for community congregations of yesteryear.

Taking Things literally: abandoned amphitheater, Foster Park, Ventura County, California. Image credit: Karl Kullmann.

Nor is cultivating Thingness in landscape akin to invoking some form of animism that imbues inanimate objects with a mystical life force. And to be clear, re-connecting landscape and politics has nothing to do with the “blood and soil” that the Third Reich used to such catastrophic effect by weaponizing the power of place on an industrial scale. What it is about is feeling connected to a process. It is about leveraging the public landscape to embolden the public in politics.[13]

To begin this process, the first instinct may be to take down the fences. De-fencing parliaments and legislatures would be a revolution of sorts. It suggests comparisons with the eighteenth and nineteenth century process of dis-parking, whereby the royal hunting grounds of Europe were gradually opened up to public use.[14] This process was initiated by unlocking the gates, and ultimately—as Californians now take for granted in city parks that remain open 24/7—demolishing the boundary walls altogether.

If we return Down Under for a moment and think through dis-parking Australia’s freshly fortified landscape parliament, the flaw in this venture becomes apparent. To remain functional in the current climate, new, more sophisticated, invisible, and insidious forms of security would almost inevitably emerge to offset a de-fenced the house of the legislature. Albeit at a vaster scale, this phenomenon is demonstrated along the US southern border. From California to Texas, the heavily surveilled and profiled 100-mile-wide thickened zone that shadows the border puts fences and walls in context; material expressions of a more pervasive filtering process that occurs before a traveler even knows they have arrived and persists long after they think they have left.

And as the deplorable scenes from the January 2021 breaching of the US Capitol demonstrate, even the most hallowed ramparts can be scaled with sufficient incitement. As at the border, the walls of the Capitol proved more performative than impervious; something reassuringly concrete to assail as a diversion from thinking though what one hopes to accomplish once inside. Here, as at Australia’s parliament, walls and fences are a symptom not a cause. The parliament’s fence is going to remain somewhere; if not encircling the building in full view, then as a thickened zone on the margins, or, more perniciously, as a wall in the minds of those who feel shut out from the political process.[15]

US/Mexico border zone, Jacumba Hot Springs, California. Image credit: Karl Kullmann.

Instead of deconstructing the walls and roofs of official houses of parliament and legislature of the State (only for other more pervasive barriers to raise in their place), a more constructive path could lay in devolving landscape parliaments as parallel processes. That is, perhaps the role of landscape Things today is not to be reprised as (non)representative parliaments for making laws, but to operate as moral shadow parliaments for discussing the issues that really matter; issues that dithering bricks-and-mortar parliaments and legislatures seem to habitually forfeit under the weight of earmarks and the fog of obfuscation.

With Things no longer satisfactorily represented in conventional parliaments and legislatures, where might these shadow landscape parliaments be situated? Perhaps everywhere and nowhere, in the sense that today a great deal of political assembly occurs in online forums that transcend borders and censors. But being digitally untethered from time and place has the significant downside of conveniently enabling individuals to insulate themselves from divisive issues within polarized online communities.

Yet even as social media spins its wheels, when people really need their voices heard, they still take to the streets on foot. If these issue-driven gatherings are to stick for any longer than an outrage-news-cycle, momentarily occupying the frictionless ground of polished airport foyers and online echo chambers is insufficient.[16] To stop Things from just slipping away into a capsicum haze of unfulfilled aspirations, landscape shadow parliaments would need to somehow lodge into the fissures that permeate everyday Californian environments. The Occupy Wall Street movement in New York and the Aboriginal Tent Embassy in Australia’s capital Canberra are recent and continuing precedents for this enduring act of literally digging in on an issue.[17]

Interstitial spaces in Northern California, (top) freeway teardown in Hayes Valley, San Francisco, and (bottom) freeway easement in Santa Rosa, California. Image credit: Karl Kullmann.

Although often overlooked in our individual cognitive maps, California’s cultural landscapes are riven with local borderlands that cleave between neighborhoods, discordant land-uses, maintained and derelict sites, and most insidiously, between planning visions and their lived reality.[18]

In many situations, agencies or communities have valid rationales and useful mechanisms with which to heal rifts in the urban fabric. Consider, for example, the re-stitching of San Francisco’s Hayes Valley neighborhood following the demolition of the earthquake damaged double-tiered Central Freeway. Yet in other circumstances, adjacent locales march to decidedly different tunes. Consider a neighbourhood ‘on the other side of the tracks’ that is vulnerable to runaway change when the tracks are sunken or removed. Richmond’s Iron Triangle, which circumscribes an underprivileged neighborhood in the shadow of the oil refinery, encapsulates this condition.

In certain circumstances, this latter type of linear no-man’s-land could provide fertile sites for snagging shadow landscape parliaments. Dug into these thin borderland situations, landscape Things could be configured to thicken the jump-cut between two conditions with a third space that is neither one, nor the other. Here, ancient Thingvellir is instructive, with the geological fissures of the Icelandic setting cleaving space between local clans, into which the parliament occupied an interstitial every-man’s-land over which no single clan held jurisdiction.

The parliament of tears: Friendship Park, California/Mexico border at the Pacific Ocean. Image credit: Karl Kullmann.

While California’s coastal conurbations are riddled with manmade fissures that suggest potential thickening into landscape Things, one of most potent (and confounding) sites surely lies at the State’s southernmost edge. Friendship Park straddles the US/Mexico border on the last high ground before the border fence spills down into the surf.[19] As one of the few locations where in-person cross-border interaction is condoned for a few hours on weekends, Friendship Park is a place of family reunions, mixed emotions, sit-in protests and coordinated trans-border activities. Twin fences define the site; one on the border, and a second inside US soil. This second fence is furnished with a disproportionately monumental gateway that promises thoroughfare but leads only to no-man’s-land.

Considered in the context of other heavily fortified no-man’s lands in urban areas, one may continue to hope for a future ‘Berlin moment,’ whereby the fortification of California’s southern border is eventually demolished as a relic of history.[20] But in the meantime, working within current geopolitical realities, how might a site such as Friendship Park be thickened into a third space? How might the fledgling aspirations Friendship Park be amplified into a landscape Thing?

At present, the challenges of the site and situation are immense. The fences are too insistent, admission to the controlled no-man’s-land too selective, and the shared horizon glistening out across the Pacific Ocean too bittersweet. Indeed, as the semantic distinction between fences and walls becomes increasingly partisan, the border ‘fence’ at Friendship Park is now so heavily armored with welded mesh—leaving apertures barely wider than a human finger—that it is, in substance, already a ‘wall.’

And although walls ably defended territories for thousands of years, their presence today is decidedly regressive.[21] In the sixteenth century, as medieval fortifications proved increasingly ineffective against advancements in ballistic technology, horizontal defensive earthworks supplanted vertical masonry walls. Reaching its zenith in Europe’s Renaissance star forts, this strategy can still be explored today in the Batteries that were built along the California coast in the nineteenth century. In the twentieth century, the advent of long-range ballistics pushed defensive earthworks to new extremes. As threats materialized from over the horizon in every direction, people retreated underground, relying on the thickness and shape of the land as their primary mode of defense.

Battery Cavallo, Fort Baker, California, circa 1938. Image credit: National Archives and Records Administration, Aerial Photographs Collection, image in the public domain.

This brief fortification primer illuminates the superiority of strategically shaped landform over masonry walls and reinforced fences. By shifting this capability from a defensive to a public conception of space, the shaping of landscape thickness becomes an intriguing proposition. Through the medium of land shaping, what form could a shadow landscape forum at Friendship Park—or elsewhere—take?

Mounding the landscape up into a hill would seem the obvious answer. As was (until recently) possible on Australia’s Parliament House hill, Californians from all walks of life may seek to fabricate the moral high ground from which to better foresee and understand the expansive issues at hand. If the concept of a political horizon is conflated with the physical horizon (as formed by the curvature of the earth), climbing a hill would appear to expand one’s horizons, allowing each of us to see more things—to literally see over the wall.

To take things to the next level, those who are so inclined could go a little higher in the basket of a hot air balloon and expand their political horizons a little further. Or, they could liftoff into the low Earth-orbit of the International Space Station and see what satellites see. Or, like the astronauts on Apollo 17, travel halfway to the moon to catch the lonely blue marble within the single frame of a Hasselblad; revealing that the whole Earth is itself a thing, albeit one that no human can see both sides of at the same time. In the sense that this epiphany energized the environmental movement, humanity has been metaphorically trying to get back down to Earth ever since.[22]

The Earth becomes a thing: Southern California and Mexico seen from the International Space Station. Image credit: © 2011 NASA, ISS, reproduced in accordance with NASA/ISS non-commercial use policy.

The point is that the higher an individual goes, the more likely they are to feel as though they are on top of things. And yet, from up on the hill (or space station) their horizons defer further outwards, circumscribing more and more issues while leaving them no closer to grasping or acting on the issues that matter. But what if this yearning to climb is upended, and instead of seeking landscape Things up on hills, we think of Things as forming down in hollows? Once again, ancient Thingvellir offers guidance here, with the geologically fissured Icelandic landscape providing a range of crevices that drew in gatherings of varied scale and scope within their embrace.

Through the organizational pull of gravity, hollows instinctively collect things. Consider the dunes on the floor of California’s Death Valley, where over the eons each grain of sand made its way to a gathering of like-minded grains at the lowest point in North America. Or in a more general sense, consider how water—access to which is a defining wall-crossing issue of the twenty-first century—converges fluidly into hollowed out landforms.

And like the water that makes up about 60 percent of our bodily mass, hollows can also collect humans. If the people rolling off Australia’s parliament hill were to repeat their mass tumble from the rim of a hollow, they would all end up drawn together at the bottom. What they may find there could be confronting, since hollows have also served historically as dumping grounds; as places where all the things that humans discard end up, out of sight and out of mind. It turns out that many of these things are still there, decaying on a geological timescale. Confronted with these things, the parliamentary hollow impels its occupants to recall; not in the sense of officially ordering someone (such as a Governor) to return, but in the other sense of bringing an event or situation back into one’s mind.[23]

Hollows foreground these things by compressing space and time by retraining the horizons of those who enter them. When going down into a hollow, everyone’s personal horizon temporarily retracts to the rim of the concave landform.[24] A kind of horizonal hand-over occurs, whereby instead of retreating unceasingly into the distance (and off into the future) as each individual moves around, the horizon stays tethered to the landform. As a result, everyone in the hollow sees the same horizon. That is, they share a collective horizon with the many other things—human, non-human, and inanimate—that are gathered in the present moment.

Gathering things: the horizon as formed by the curvature of the Earth from (top to bottom) on the plain; up on the hill; and down in the hollow. Image credit: Karl Kullmann.

The other thing about hollows is that they leak. Through either infiltration or evaporation, hollow landforms leak water (otherwise they would become lakes), and unfortunately hollows often leak toxins when associated with dumping grounds. Yet in a positive sense, hollows also potentially leak people and ideas. In contrast to the illusion of a hermetically sealed leak-proof house of parliament, the landscape parliament shaped as a hollow makes no claims to being watertight. Unlike a wall or fence, the rim that encircles the hollow landform remains permeable. Freed of the limitations that architectural containment places on access and participation, humans, along with many other things, can cross over this topographic threshold and gather to discuss matters of concern. And when the time for discussion has passed and the time for action is present, they can move back over the collective threshold and leave.

Outside of the hollow, the Earth’s horizon comes back into focus and the wider world, with its myriad issues, comes back into play. Out here individuals are potentially primed to extend issues of concern beyond a preoccupation with their own and immediate futures, which from ecological crises to genetic design, encompass vast and miniscule scales and temporalities.

However, potential does not necessarily translate into actuality. While this can be true in any situation, it is doubly so in the landscape. Whereas the programmatic capacity of buildings is reasonably predictable, predetermining the usefulness of a landscape in advance remains an imprecise art.[25] Buildings have doors and roofs with which to encapsulate and regulate the activities of their occupants. Landscape, on the other hand, is less obliging; think of landscape in terms of the vagaries of the weather upon which it is beholden, or in terms of the indeterminate flow of the rivers that run through it.

Fluid horizons: “View of Sacramento City as it appeared during the great inundation in January 1850 / Drawn from nature by Geo. W. Casilear & Henry Bainbridge. New York : Lith. of Sarony c1850.” Source: California State Library, image in the public domain.

The landscape’s inherent uncertainty can be extended to humans, who often do not adopt landscapes in the way in which planners intended. Part of this is undoubtedly down to the preponderance of poorly designed public spaces (in California and elsewhere) that fail both functionally and expressively. Yet even with the best intentions, landscapes can fall flat. In this context, expecting landscape parliaments to routinely perform as places for actual discussion could backfire. The weight of expectation could create intimidating spaces that people completely avoid, unwittingly adding to the existing trove of empty amphitheaters.

Instead of pressuring landscape things to be routinely parliamentary from the outset, perhaps their role needs to be initiated in more down to earth terms. Positioned more humbly, landscape Things would principally seek to simply collect people in situ, essentially drawing each of us out of our internet of things and into the shared world of Things. Once drawn—like moths to a lamp—into the public realm, we are more likely to participate in, and engage with, the issues (or things) that concern us all.

Drawn together: groups around bonfires on Ocean Beach, San Francisco. Image credit: Kim Komenich / San Francisco Chronicle / Polaris, reproduced with permission.

From this unassuming basis, in certain situations where particularly potent matters of concern converge on the ground, contemporary landscape Things might emerge. While there is a great deal of indeterminacy involved, we can assume that these Things are unlikely to leaven on Capitol hills. Just as legislatures and issues are not progressing, forums and gatherings are not aligning. The forums that govern Californians are fixed at the center, on the hill, while the gatherings that matter dig in at the edges, in the fissures. It is here that shadow landscape parliaments are at most likely to be at home.

Given that they are not tied to the conventional apparatuses of federal, state, or local governance, to which other scales might landscape shadow parliaments extend? And, in addition to Friendship Park, where else in California might these reimagined landscape shadow parliaments (Things) be dispersed? As nature and politics increasingly converge, perhaps Things might draw within their horizons each of the world’s 867 bioregions, ten of which intersect with California.[26] Or, across the Sierras, perhaps Landscape Parliaments might grip onto the salty banks of the overdrawn Mono Lake, stripped of inflows that are gravity-fed southbound along the Los Angeles Aqueduct. Or, as traditional zoological gardens become less and less defensible, Things might colonize the naturalistic habitats of decommissioned animal exhibits in San Francisco zoo.

Drawn to the edge: Sunken City, Sn Pedro, California. Image credit: Karl Kullmann.

Or, perhaps the position of Landscape Parliaments might be calibrated to sea level rise projections: not safely on higher ground, but at the waterline near vulnerable communities such as East Palo Alto, to be intentionally inundated as a wet-feet reality check on rising tides. Or, find niches amidst the fragmented ruins of the aptly named Sunken City near Long Beach, where buildings and streets slumped into the Pacific Ocean. Or, ride the precipice of vanishing ground, by convening Things on the concrete pads of recently demolished buildings atop Pacifica’s rapidly receding cliff line. Or, inhabit the new ground that results when landfill is decommissioned, such as that of the Albany Bulb wasteland that protrudes into the tidelands of San Francisco Bay’s eastern shore.

By gathering Californians together within the contours of these settings, Landscape Things might help us to recall the gravity of the things that matter, nearer to where they matter.


Notes

[1] Editorial, ‘Australians Roll Down Lawns of Parliament House to Protest Against Fence’ (17 December 2016), http://www.bbc.com/news/world-australia-38349994.

[2] Gregory Cowan, ‘Collapsing Australian Architecture: The Aboriginal Tent Embassy’, Journal of Australian Studies 25/67 (2001): 30–36.

[3] Henry Belot, ‘Parliament House’s Iconic Grass Lawns Blocked Off by New Security Fences’ (11 September 2017), http://www.abc.net.au/news/2017-09-12/security-fences-shut-patrons-out-parliament-house-grassy-slopes/8896074.

[4] Agust Gudmundsson, ‘Tectonics of the Thingvellir Fissure Swarm, SW Iceland’, Journal of Structural Geology 9/1 (1987): 61–69.  Richard Beck, ‘Iceland’s Thousand Year Old Parliament’, Scandinavian Studies and Notes 10/5 (1929): 149–153.

[5] See Kenneth R. Olwig, ‘Liminality, Seasonality and Landscape’, Landscape Research 30/2 (2005): 259–271.

[6] Here I draw on Martin Heidegger, ‘The Thing’, in: Albert Hofstadter (trans.), Poetry Language Thought (New York: Harper & Row, 1971), 161–180, at 173.

[7] See Álvaro Sevilla-Buitrago, ‘Urbs in Rure: Historical Enclosure and the Extended Urbanization of the Countryside’, in: Neil Brenner (ed.), Implosions / Explosions (Berlin: Jovis Verlag, 2014), 236–259.

[8] See Kenneth R. Olwig, ‘Heidegger, Latour and the Reification of Things: The Inversion and Spatial Enclosure of the Substantive Landscape of Things–The Lake District Case’, Geografiska Annaler: Series B, Human Geography 95/3 (2013): 251–273, at 256.

[9] See Karl Kullmann, ‘Route Fittko: Tracing Walter Benjamin’s Path of No Return”, Ground Up (Delineations) 5 (2016): 70–75.

[10] In the current epoch that Paul Crutzen famously labelled the Anthropocene, human activity is permanently recorded in the geological record. Paul J. Crutzen, ‘The “Anthropocene”’, in Eckart Ehlers and Thomas Krafft (eds.), Earth System Science in the Anthropocene (Berlin & Heidelberg: Springer 2006), 13–18.

[11] Here I draw on Timothy Morton, Hyperobjects: Philosophy and Ecology after the End of the World (Minneapolis: University of Minnesota Press, 2013).

[12] Here I draw on Bruno Latour, ‘From Realpolitik to Dingpolitik or How to Make Things Public’, in Bruno Latour and Peter Weibel, Making Things Public: Atmospheres of Democracy (Cambridge, MA: MIT Press, 2005), 4–31. Bruno Latour, ‘A Cautious Prometheus?’ Keynote lecture for the Networks of Design meeting of the Design History Society, Falmouth, Cornwall, 3 September 2008.

[13] The public landscape is not limited to the bucolic countryside or the protected wilderness. Today it also includes the burgeoning urban landscape: the streets, the parks, the appropriated interstitial spaces, the postindustrial wastelands, the cultural precincts, and even the external surfaces of buildings.

[14] The archaic verb dispark means to ‘divest a park of its private use’ by ‘throw[ing] parkland open.’ Charles Talbut Onions (ed.), The Shorter English Dictionary on Historical Principals (Oxford: Clarendon Press, 1964), 530.

[15] This is a reference to the Mauer im Kopf (the wall in the head), that persists in the psycho-geographies of Berliners long after the fall of the concrete Berlin Wall.

[16] This is a reference to the spontaneous airport demonstrations that followed the Trump administration’s January 2017 Muslim travel ban.

[17] For a site-specific mapping of an Occupy site, see Jonathan Massey and Brett Snyder, ‘Occupying Wall Street: Places and Spaces of Political Action: Surveying a Hypercity Built of Granite and Asphalt, Algorithms And Information’, Places Journal (September 2012), https://placesjournal.org/article/occupying-wall-street-places-and-spaces-of-political-action/.

[18] See Karl Kullmann, ‘Thin Parks / Thick Edges: Towards a Linear Park Typology for (Post)infrastructural Sites’, Journal of Landscape Architecture 6/2 (2011): 70–81.

[19] For in depth explorations of the Mexico/US borderlands, see Michael Dear, ‘Imagining a Third Nation: US-Mexico Border’, Ground Up (Delineations) 5 (2016): 46–55.

[20] For a distinctly theological perspective on the California border in relationship to California citizenship, see Jason S. Sexton, ‘Borders and Barriers: Citizenship in California’, in Kirsteen Kim and Alexia Salvatierra (eds.), Los Angeles as a Global Crossroads: Migration, Transnationalism, and Faith (Lanham, MD: Lexington Books, 2022), 131–150.

[21] The return of border walls has revived some decidedly medieval devices for their circumvention in the form of ladders, catapults and tunnels.

[22] On the cultural impact of the whole earth image, see Denis Cosgrove, Geography and Vision: Seeing, Imagining and Representing the World (London: I.B. Taurus, 2008), chapter 1.

[23] As defined by The Oxford English Dictionary: Second Edition (Oxford: Oxford University Press, 1989).

[24] See James J. Gibson, The Ecological Approach to Visual Perception (Hillsdale NJ: Lawrence Erlbaum Associates, 1986).

[25] See Karl Kullmann, ‘The Usefulness of Uselessness: Towards a Landscape Framework for Un-activated Urban Public Space’, Architectural Theory Review 19/2 (2015): 154–173.

[26] As classified by the World Wide Fund for Nature, bioregions are ecologically and geographically distinct areas.

Karl Kullmann is a landscape architect, urban designer, and Associate Professor in the Department of Landscape Architecture & Environmental Planning, University of California, Berkeley.

ArticlesPhotography/Art

Indigenous Oaxacan Visibility

Brenda Nicolas

The following article references the exhibition and programming series Boom Oaxaca. Presented by Arte Américas and the Centro Binacional para el Desarollo Indígena Oaxaqueño, “Boom Oaxaca: Conversaciones de Campo a Campo” is an invitation to participate in local and transnational conversations around food sovereignty and Indigenous sovereignty as issues that uniquely converge in the Central Valley’s Oaxaqueño community. Boom Oaxaca is guided by the work of Narsiso Martinez and Tlacolulokos, who use self-representation and visibility as an act of political rebellion, and as an autonomous approach to an ownership of culture. Grounded in the context of both Oaxaca and California, these artists create images of often invisibilized spaces, and in turn demand attention and humanize the experiences of their community. The exhibit is open until August 14th, 2022 at Arte Américas, Fresno California. For more information visit: https://boomoaxaca.com/

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To talk about Latinidad, migration, or invisibility, requires us to examine Indigenous migration from Abiayala (Latin America).[1] When we consider Indigenous diasporas from Abiayala and across the Pacific, in addition to American Indians in the United States, California is one of three states with the largest Indigenous population.[2] In the San Joaquín Valley, Ñuu Savi (Mixtecos) from Oaxaca and Triquis make up most of the Indigenous Mexican diaspora.[3] Their migration and settlement patterns are due to Mexico opening to US foreign markets (1960s–1980s) that instituted agricultural reforms to seize communally owned lands throughout Oaxaca, largely ending self-sufficient farming.[4] The restructuring of the market caused pricing of corn and other main crops to drastically fall, which then prevented small farmers and families in rural Mexico to compete with large-scale companies. As Indigenous Oaxacans were forced to migrate, large-scale farmers subsequently benefitted from agricultural reforms and sought cheap and skilled labor from those fleeing the Mixteca region, including Triquis and Zapotecs mostly from the Sierra Norte, to be hired in Veracruz, northern Mexico, such as Sinaloa, San Quintin, and other Baja California areas, and eventually the United States.[5] With NAFTA, however, US contract recruiters sought Oaxacans as new immigrant cheap labor to supplant traditional migrant-sending rural communities from states like Michoacán, Jalisco, Guanajuato, San Luis Potosí, and Zacatecas who are largely non-Indigenous mestizos.[6]

As the “Boom Oaxaca” exhibition seeks to make visible, Oaxacan migrants are predominantly Indigenous peoples who have settled in San Diego, Los Angeles County, Oxnard, Santa María, Bakersfield, Fresno, Madera, Watsonville, and Hollister. The US racialization process towards migrants from south of the border, unfortunately obscures their unique identity and culture. We are Indigenous peoples, not Latina/o or Hispanics. As Native peoples to the “Americas” relationship to land is tied to Indigenous world views, practices, and mutual existence that shapes how Indigenous Oaxacan diasporas make meaning to the lands we are guests/visitors on. Therefore, to talk about Indigenous Oaxacans in the United States requires us to rethink how we have historically been racialized in this country, how our racialization affects us, and how it benefits colonial structures who force us out of our Native land, while extracting natural “resources” that give life to all beings. Ñuu Savi, Triqui, Zapotec, Chinantecs, and other Indigenous Oaxacan generations throughout California, continue to organize across the US and Mexico border.

Tlacolulokos, (Ruiz Gallery, Arte Américas) — Photo by Samuel Contreras

From grassroots efforts built in response to racial violence (“bullying”), labor injustices in the fields, living conditions in the US, to state repression in Oaxaca—particularly the horrific tortures, murders, and disappearances of teachers and allies during the 2006 uprising, and other unlivable conditions perpetrated and allowed under settler colonial governments—Oaxacans throughout California and in Mexico have never stopped organizing nor demanding justice. Grassroots cross-border organizations like the Frente Indígena de Organizaciones Binacionales (FIOB) have left their footprints for newer generations, and nonprofits like the Centro Binacional Para el Desarrollo Indígena Oaxaqueño (CBDIO), and the Mixtec Indígena Community Organizing Project (MICOP) have also enabled our visibility and our voice as Indigenous peoples by speaking against racial, cultural, and linguistic homogenization that affects both our self-determination and rights to existence as Indigenous peoples. Children of migrants who were brought as children or who were born in the United States are maintaining and constructing new ways in which as Indigenous Oaxacans we say, “still here,” “we do exist” and we continue to be Indigenous despite thousands of miles away from our ancestral homelands.[7] From the FIOB youth to the Oaxacan Youth Encuentro (OYE), the Tequio Youth Group in Oxnard, Los Autónomos in the Central Valley, the OaxaCal student group at UC Berkeley, other youth-led Oaxacan collectives, cooperatives, including Oaxacans with a large social media presence, demonstrate how Indigeneity is neither static nor is it detached from homeland or collective existence. Being Ñuu Savi, Triqui, Zapotec is a complex interplay between land, memory, survival, and relational being.

This space (not a place) that Oaxacans refer to as Oaxacalifornia, a term coined by anthropologist Michael Kearney, takes many shapes and reflects both the violent and nonviolent experiences Oaxacans generations have confronted.[8] As younger generations come of age, however, they increasingly reflect how their unique position as Indigenous guests on Native land informs their interactions with the Native people whose lands they are guest on. In her work with relocated American Indians and Indigenous Oaxacans in Silicon Valley, Renya K. Ramírez (Winnebago/Ojibwe), refers to this coexistence as “Native Hub.” For Ramírez “Native Hub” is a collective network of support relocated American Indians and Indigenous Oaxacan migrants create using their knowledge, cultural, social, and political processes to build intracommunity belonging away from home.[9] As a growing field of study, Critical Latinx Indigeneities (CLI) privileges Indigenous diasporas from “Latin America” in scholarly work by considering social, political, cultural, religious, and other forms of collective Indigenous practices in the US. Since its formation in 2013, Indigenous and non-Indigenous scholars—long dedicated with Indigenous migrants—take on a critical analysis that considers Indigenous diasporas’ unique position as guests on Native land and settler colonial interventions across Abiayala.[10] In doing so, CLI scholars have added to the complexities of Latinidad, Chicanidad, and mestizaje.

The art presented by Zapotec artists Narsiso Martínez and the Tlacolulokos bring together diverse Indigenous Oaxacan experiences in the San Joaquín Valley of California. Based on self and community representation, they portray a plurality of Oaxacan migrant experiences spanning the Central Valley and Los Angeles County. Martínez, who was born in Oaxaca and migrated to California at the age of twenty, represents the hard labor of Oaxacan migrants working in the fields. Unique to his style is the use of produce boxes, rather than canvas, which he gathers himself from local grocery stores. With the use of these recycled boxes, he gives greater meaning not only to those who help produce what they hold, but to everyday consumers who seldom think of the people exposed more than eight hours a day to scorching heat waves and pesticides. As a former farmworker himself, Martínez began working in the fields as a young kid. During college, he returned to work in the fields to pay for his tuition. His story, however, is not his alone—many Oaxacan children raised in the Central Valley have had similar experiences, including some of the organizers and contributors to this exhibition and those they grew up with, such as members of the CBDIO and FIOB Fresno.

Narsiso Martínez, Always Fresh, 2018, Ink, Charcoal, Gouache, Gold Leaf, and Collage on Reclaimed Produce Boxes, Compound LB. © 2018, Narsiso Martinez. Photo by Roger Gonzalez.

Young Oaxacans in the fields and at school face endless anti-Indigenous discrimination by the larger non-Indigenous Mexican community they grew up alongside. This discrimination, at times being physical violence, frequently targets Oaxacans who speak their Native language in public, have darker skin and other bodily stereotypical features, and simply for “looking Indigenous.” For example, take the 2012 campaign, “No Me Llames Oaxaquita” (“Don’t Call Me Little Oaxacan”), where Indigenous Oaxacans organized to demand the Ventura County School District ban the derogatory term “Oaxaquita” and “Indito” (little Indian) from their schools after incessant ridicule and bullying.[11] Yet this case, which received international news, is not new—it has been happening since the first wave of Oaxacan children, many of whom are now in their late forties and fifties in Los Angeles. Through his art, Martínez demonstrates his own experience as a former field worker, which is often the experience of many other Oaxacan youth in the US.

Similarly, Dario Canul and Cosijoesa Cernas, two Zapotec men from the Tlacolula-based art collective known as the Tlacolulokos, show a multitude of Oaxacan urban experiences in their murals. Particularly, they capture the experiences and emotions between different urban landscapes that Oaxacan migrants cross (Los Angeles and now Fresno) and those they leave behind (mostly the Central Valleys of Oaxaca and more recently the Sierra Juárez). Like Martínez, the portraits they draw have names, are living, and not made up. They express sadness, longing, happiness, rebellion, thoughtfulness, firmness, and seriousness. More than a simple mixture in art, they bring the nostalgia and impact on traditions that migration has had on Oaxacans by displaying the portraits with tattoos, piercings, baggy jeans, blue LA Dodger baseball caps, white T-shirts, and Nike Cortes, while merging them with the traditional clothes and hairdos of the pueblos, alongside a wind instrument like a trumpet.

Tlacolulokos, Guerreros de la Calle, 2021, acrylic paint on cotton canvas, Arte Américas. Commissioned for Boom Oaxaca with a grant from The McClatchy Fresno Arts Endowment of The James B. McClatchy Foundation. © 2021, Tlacolulokos. Photo by Roger Gonzalez.
Tlacolulokos, Low Rider, 2021, acrylic paint on cotton canvas, Arte Américas. Commissioned for Boom Oaxaca with a grant from The McClatchy Fresno Arts Endowment of The James B. McClatchy Foundation. © 2021, Tlacolulokos. Photo by Yadani 
Tlacolulokos, Hazlo tu Mismo, 2021, acrylic paint on cotton canvas, Arte Américas. Commissioned for Boom Oaxaca with a grant from The McClatchy Fresno Arts Endowment of The James B. McClatchy Foundation. © 2021, Tlacolulokos. Photo by Yadani 

Although Cernas and Canul have never migrated to California, through conversations they record on both sides of the border, they are able to understand the difficulty migrants express of living and working hard in the US to barely get by, while attempting to send remittances to their loved ones. Meanwhile, those who stay in the pueblos feel the everyday pain of having their child, husband, parent, or sibling del otro lado (on the other side) wondering when, and if at all, they will see each other due to their immigration status. One of their mural panel displays from their 2017 exhibition, “Visualizing Language: Oaxaca in Los Angeles,” states, “Donde quiera que vayas” (wherever you may go), which makes homage of all generations in diaspora that we have not forgotten where we come from, even if we were not born there. Their identity and love for their pueblos is ours too—we continue to be communally invested in and with our pueblos and relatives back in the hometown. In other words, we live, embody, and in multiple ways continue our traditional practices with our pueblos.

These multiple forms of practices are rooted in Indigenous ways of being described as comunalidad, according to Ayuujk intellectual, Floriberto Díaz Gómez (1951–1995) from Tlahuitoltepec Mixe, and Zapotec intellectual, Jaime Martínez Luna (b. 1951) from Guelatao in the Sierra Juárez. Comunalidad are practices rooted in the community’s collective wellbeing. They are run by, for, and with the community. These communal practices happen through dances, playing in the Oaxacan brass bands, harvesting, and taking on a cargo (position) in our usos y costumbres (Indigenous customary law)municipalities and its agencies, especially for pueblos of the Sierra and Mixteca region that still practice multiple communal ways of life, and do not have electoral politics or political parties.

As Indigenous peoples in the United States, our comunalidad practices and beliefs of “doing for the good of the people” have also been used in demanding that our rights be respected. Most recently, the killing of Zapotec youth, Gerardo Martínez Chávez, by the Salinas (Monterey County) police has sparked outrage among the community. The ongoing murders and brutality by the police against Brown and Black unarmed men for crimes they did not commit.[12] However, Indigenous men, mostly from Latin America, like that of Mr. Martínez Chávez and Maya Ki’che’ day laborer Manuel Jamines Xum, shot and killed by the LAPD in 2012, have made it all too clear that Indigenous peoples continue to be invisible beyond the countries they came from. Both men’s language was their Native Zapotec and Maya, respectively, and therefore community organizers and other human rights advocates argue that they did not understand the English or Spanish commands of the officers nor were they offered a translator. Under federal law, any public agency receiving federal money, like a hospital, clinic, or police station, is required to have a translator available for the person in question, regardless of legal status. Organizations throughout California, like that of the Centro Binacional Para el Desarrollo Indígena Oaxaqueño, the Frente Indígena de Organizaciones Binacionales, the Mixteco Indígena Community Organizing Project, and the Comunidades Indígenas en Liderazgo have begun to provide interpreting services for Indigenous Oaxacan migrants, and others as well, throughout the country.

As a space in which multiple Indigenous Oaxacan voices come together with allies, “Boom Oaxaca” attempts to make visible distinctive and common ground experiences as Ñuu Savi, Triqui, Zapotec, and other Indigenous Oaxacans. Like the artists themselves, the portraits, Indigenous organizations and sponsors of the exhibition, and academics who are Zapotec, we say invisible no more! We continue to exist and be Indigenous! To intentionally map ourselves in these spaces is to resist settler colonial erasure inside and outside Latinidad, Chicanidad and mestizaje. Like Indigeneity, Oaxacans are diverse, have held fluid identities to survive elimination, and have complex realities that cannot be singly defined, but do require the creation of “comfortable spaces to have uncomfortable conversations” about Indigeneity, nationalism, racial violence, even if others may not want to listen or brings up critiques of Indigenous appropriation. As Indigenous peoples, responsibility and respect are a comunalidad process among each other as pueblos originarios (original pueblos/peoples). Many Oaxacan generations in diaspora are still closely related to our respective pueblos. These same Indigenous communal values of respect for the land and its peoples are now part of our relationship building with the Native peoples on whose land we are guests throughout California. To our Indigenous Oaxacan communities and relations, we give thanks—Yoshxleno!

~ A Zapoteca mother & scholar, Brenda Nicolas (Sierra Norte).


Notes:

[1] Also spelled Abya Yala.

[2] Census 2020

[3] Fox and Rivera-Salgado 2004; Holmes 2013

[4] Andrews 2018

[5] Hernández-Díaz 2019

[6] Cornelius 1990; Durand, Massey, and Zenteno 2001

[7] Odilia Romero, Los Angeles Times, 2021.

[8] Kearny 1991, 1995; Rivera-Salgado 2014; Stephen 2014

[9] Ramírez 2007

[10] Blackwell, Boj Lopez, and Urrieta, 2017.

[11] For more on the “No Me Llames Oaxaquita” campaign see, Nicolas, “Reclamando lo que es nuestro: Identity Formation Among Zapoteco Youth in Oaxaca and Los Angeles” (2012); Marco Werman, “Oxnard Group Trying  to Make ‘Oaxaquita’ Epithet Illegal,” The World: Public Radio International, May 31, 2012, https://www.pri.org/stories/2012-05-31/oxnard-group-trying-make-oaxaquita-epithet-illegal.

[12] Nix et al. 2017.

Dr. Brenda Nicolas (Bene Xhiin, Zapotec) is Assistant Professor in Global Studies at UC Irvine where her work looks at the transborder communal experiences of Zapotec diasporas in Los Angeles. Dr. Nicolas received her PhD in Chicana/o and Central American Studies (UCLA). She has an M.A. in Chicana/o Studies (UCLA) and an M.A. in Latin American Studies from UC San Diego. She holds a B.A in Sociology and Latin American Studies from UC Riverside. She lives in LA and enjoys spending time outdoors with her son and husband.

La Dra. Brenda Nicolás (Bene xhiin, zapoteca) es Profesora Asistente en la facultad de Estudios de Globalidad en UC Irvine donde su trabajo analiza las experiencias comunitarias transfronterizas de las diásporas zapotecas en Los Ángeles. La Dra. Nicolás recibió su doctorado en Chicana/o y Estudios Centroamericanos (UCLA) donde también completó una Maestría. Tiene una Maestría en Estudios Latinoamericanos de UC San Diego y recibió una licenciatura en Sociología y Estudios Latinoamericanos de UC Riverside. Vive en Los Ángeles y le gusta pasar tiempo en las afueras con su hijo y esposo.

Excerpts

Techtopia: Privatized Wholeness and Public Brokenness

Carolyn Chen

What happens to society when its members worship work? Silicon Valley offers us an answer. The tech industry has created what I call Techtopia, one of its most disruptive innovations yet. Techtopia is Silicon Valley’s upgraded social “operating system”—an engineered society where people find their highest fulfillment in the utopian workplace. It promises high-skilled Americans a new kind of “wholeness.” Professionally managed, data-driven, meritocratic, and designed to scale, Techtopia gives tech workers what their families, religions, neighborhoods, unions, and civic organizations have failed to deliver in the last forty years: meaning, purpose, recognition, spirituality, and community. It is the twenty-first century American Dream.

Techtopia’s promise of fulfillment may feel distant, or even comical to most Americans. But in fact, it addresses a silent and growing absence in the American soul: an absence of belonging. Social institutions that once nurtured belonging and fulfillment no longer serve Americans well. In the last forty years, Americans have withdrawn not only from religion, but from marriage and civic associations that at once offered “wholeness.” Rates of marriage and civic participation are at an all-time low.[1] Few Americans are members of unions any longer.[2] Many people don’t even have a sense of attachment to the companies they work for because they are subcontracted labor, including many of the people who make the tech companies thrive. Even a sense of national belonging is in crisis. In 2018, a record low number of Americans reported being “extremely proud to be American.”[3] What institutions do we turn to now for belonging and purpose in life? Where do we go for “wholeness?”

The media pathologizes people who worship work, calling them “workaholics.” But what is the alternative? In American society today, there is no single institution that so faithfully aspires to meet the material, social, and spiritual needs of its members as work does for its highly skilled workers. Tech workers are worshipping work because work has become worthy of worship.

Techtopia is a cautionary tale for the rest of America. It may be making an elite group of tech workers “whole,” but it is leaving the rest of society broken. What kind of society do we become when human fulfillment is centered in the workplace? What happens to our families, religions, communities, and civil society when work satisfies too many of our needs? Silicon Valley is a bellwether of what happens when we worship work—when we surrender our time, our identities, our resources, and even our cherished traditions in service to work. It is what will happen if we don’t invest in building and sustaining social institutions and traditions that nurture community, identity, and purpose outside of work.

Photograph by Matt Gush, mattgush.com


Techtopia and the Monopolization of Human Energy

Techtopia seeks to monopolize the collective energies of communities, channeling them away from religions, families, neighborhoods, and civic associations, and into the tech workplace. To illustrate tech’s relationship to the community, imagine social institutions represented as a variety of magnets spaced out on a tabletop. And let’s say we have a bucket of metal filings that symbolize the energy (time, effort, attention) of people in the community. If we scattered the bucket of metal filings onto the table, the filings would cluster around the most powerful magnets. And even if we tried to distribute the filings evenly across the table, they would naturally migrate toward the most powerful magnets. The piles of filings show us where the energy of the community gravitates.

The metaphor of magnets and metal filings illustrates the relationship between work and human energy in Silicon Valley. Workplaces are like big and powerful magnets that attract the energy of individuals away from weaker magnets such as families, religious congregations, neighborhoods, and civic associations—institutions that we typically associate with “life” in the “work-life” binary. The magnets don’t “rob” or “extract”—words that we use to describe labor exploitation. Instead they attract the filings, monopolizing human energy by exerting an attractive rather than extractive force. By creating workplaces that meet all of life’s needs, tech companies attract the energy and devotion people would otherwise devote to other social institutions, ones that, traditionally and historically, have been sources of life fulfillment.

Consider how the “life” provisions of the workplace attracted the devotion of Sheba Nair, a tech worker and single mother. She chose to take a more senior position at a new firm even though it would mean longer hours, leaving her less time to spend with her seven-year-old daughter. Despite the longer hours, the new job had perks that made her life easier as a single mother. The company had an after-school child-care facility and a big playground that stayed open late. In the past, Sheba had struggled to pick up her daughter by six from her school’s aftercare program. Now, Sheba can work late knowing that her daughter is safe and well cared for. On top of that, the new company’s cafeteria serves dinner. Now, instead of hastily heating up a microwaved frozen dinner, Sheba and her daughter have stress-free healthy dinners at work, where she enjoys “quality time” with her daughter.

If Sheba lived in a different time or place, she would have called on other institutions and individuals to care for her daughter: the watchful eyes of neighborhood adults, a neighborhood youth center, or extended kin. But all the other families in her neighborhood are like hers. They, too, work long hours in tech and send their kids to after-school programs away from the neighborhood. Moreover, as a “tech migrant” who moved to Silicon Valley from India, Sheba has no extended kin nearby to rely on.

In Techtopia, companies replace all other potential providers of social support—families, local businesses, neighborhoods, and public services. Indeed, the company’s professional, managed care is so efficient that the services of other social institutions pale in comparison. One woman marveled at the perks of her daughter’s tech job—the meals, laundry service, wellness benefits. “I could never give her all that,” she admitted.

Companies are also stepping in where religions have failed. “I was talking to a guy at work the other day about mindfulness,” Jim Ward, the mindfulness director at one firm, recalls. “And he said, ‘I want to do more of this. Are there groups where you can get together and do this?’ And I said, ‘Yeah, it’s called church.’ [laughing] And he says, ‘Oh yeah, but I don’t want church.’” Jim delivers the all-too-serious punch line with a grin: the company’s mindfulness program is “having church at work without having church.”

People are hungry for spirituality, Jim says, but they “are turned off by religion.” Although he is an active member of a faith community outside of his company, Jim doesn’t see religious institutions meeting people’s spiritual needs in Silicon Valley. The workplace, in his view, is the answer: “I think we can create that place at work, where they can be spiritual without even knowing they are being spiritual. … They can feed that part of themselves that wants to be fed in a way that’s completely secular.”

Carrie Hawthorne, a former human resources director at a large tech firm, also sees the depth of people’s unmet needs and the company willingness to take the place of religion: “People don’t really go to church the way they used to. They’re not really rooted in their communities the way they used to be. There is this deep need for being a part of something larger than themselves, so feeling connected to the other people in the company, to the mission of the organization … it’s taking the place of some of these other institutions that we used to have.”

Most of us can agree that eating well, being physically fit, experiencing spiritual growth, and having a purpose in life are all good things. Why should we care if people fulfill these needs through their workplaces, especially if work provides them more efficiently than families, neighborhoods, and faith communities?

The problem is that tech companies increasingly operate like the most extreme of religious organizations—cults. They channel the energy of their employees inward and cut them off from things outside. As I’ve discussed, tech companies do this by hoarding so much of their employees’ time, energy, and passions that they have nothing left for anything else. And they provide for so many of their employees’ needs that tech workers can do without the public. As a result, Techtopia is corroding the collective capacity to build and sustain a common good.

Peter Kim, a tech entrepreneur in his late forties, has witnessed the breakdown of community and civic participation as tech workers took over his Silicon Valley suburb. Fifteen years ago, Peter had neighbors with diverse occupations—one neighbor was in real estate, one in finance, another a plumber, and another a small business owner. Peter would see them walking their dogs and mowing their lawns, and their children playing in the yards. The neighborhood felt to him like a community, he says. There was a sense of mutual concern for each other and the neighborhood as a whole. They belonged to the neighborhood. The previous owner of Peter’s house used to run a day-care center from the home, drawing in many of the children and families from the neighborhood. When issues arose, they’d organize community meetings and post flyers around the neighborhood. Peter, who is now running for elected office in his city, credits his start in city politics to the activism of this earlier neighborhood. If it weren’t for those neighbors, he believes, he wouldn’t be running for political office today.

Today, he says, “a lot of those people are gone.” Many moved because of the rising cost of living. Others sold their homes at unthinkable profits and retired early somewhere else. What do his neighbors do for a living now? Peter goes down the list: “software engineer, software engineer, software engineer.” None of them, in his view, care about the neighborhood. They live there, but there’s no sense of belonging. The town was closing small neighborhood parks to cut costs, he complained. That was something his old neighbors would have fought. But now, his neighbors don’t do anything. I asked him why engineers are different. “They’re busy,” he answered. Peter rarely sees his neighbors anymore. They’re not around enough to see the town notices about the impending shut-down of their neighborhood park. And even if they see the notices, they don’t seem to care. “They don’t go to the park, so it just disappears,” Peter explained.

Peter’s story made me think of Sheba. What if Sheba had lived in Peter’s old neighborhood when it was rich with social relations? Sheba and her daughter’s life might have been different. Her daughter might have attended a child-care center run out of a neighbor’s house, instead of the company program. The child would have been able to walk to the neighborhood park instead of relying on her mother to drive her to the company playground. Between the neighbors, whose work schedules were different from Sheba’s, there would usually have been some adult to keep an eye on the kids at the park. Her daughter’s playmates would have been neighborhood children with parents from different walks of life—as realtors, small business owners, and plumbers—and not just the children of other tech workers. The swing set and the monkey bars in the neighborhood park wouldn’t be as new and flashy as the ones at Sheba’s company, but one could imagine such a community fighting the city tooth and nail if it tried to take the park away from them.[4]

Richard Grant, a longtime Protestant minister in Silicon Valley, notices that church participation has declined as tech has grown. People, he says, now live at “a breathless pace.” Thirty years ago, the typical member of his church attended both Sunday service and Sunday school most weeks. Today, the average member of his church attends only Sunday service once a month. This has caused a “volunteer challenge” in his church. Time and energy that people used to devote to church is now going to work.

In Techtopia, people don’t belong to neighborhoods, churches, or cities. They belong to work.[5] Instead of building friendships, trust, and goodwill within their communities, they develop the social capital of their companies.

Silicon Valley shows what happens when we worship work—when we surrender our time, our identities, our resources, and even our cherished traditions in service to work. How, then, can we not worship work? How do we break the theocracy of work?

“In the day-to-day trenches of adult life,” the late writer David Foster Wallace observed, “there is actually no such thing as atheism. There is no such thing as not worshipping. Everybody worships. The only choice we get is what to worship.”[6] We stop worshipping work, Wallace suggests, by choosing to worship something else. But we cannot do it alone, in the private sanctuary of our personal prayers and devotions. Since worshipping work is a social enterprise, choosing not to worship work must also be a collective endeavor. We can do this by intentionally building shared places of worship, fulfillment, and belonging that attract our time, energy, and devotion. These are our families, neighborhoods, clubs, and civic associations, as well as our faith communities. We need to recharge these “magnets” that have grown weak. Contrary to what time management pundits tell us, we do this by letting these magnets attract more and not less of our time, energy, and passion. This is not a call to end work; it’s a call to energize non-workplaces. It’s an invitation to reflect on how we as a society expend our collective energy. It’s an appeal to redistribute our devotion into the institutions that we want to shape our desires and fulfill us. And it’s a proposition to invest in institutions that share resources equitably across society.

Among our civic institutions, religions are especially well positioned to respond to the challenges of our time. Religion is one of the last spheres of social life to offer cohesive and communal traditions that resist marketized forms of logic and exchange. Unfortunately, most organized religions in the United States today seem to regard the worship of work not as a problem to change, but rather as something to accommodate. In places like Silicon Valley, religion has become a therapeutic salve to heal the inner self in a work-obsessed world. Religions as varied as Buddhism and evangelical Christianity offer “personal freedom” and “personal salvation” but leave the worship of work intact.

Religions can do much more, of course. Their liturgies, practices, and teachings reorient the human heart, mind, and body away from the world of work and markets. Religious traditions can offer a powerful and distinct set of ethics, communities, and rituals to counter the morally bereft religion of work. They can teach virtues such as justice, stewardship, kinship, and compassion, qualities that help us determine how, why, and when to work; how and what to produce; and what to do with the profits of our work. Religion can show us that values such as efficiency, productivity, and growth are means and not ends in themselves. Now more than ever, we need the prophetic voices of our religious traditions and communities to help us restore a collective wholeness.

As we enter the third year of the pandemic, the future of work is uncertain for Silicon Valley and the rest of the world. Most tech workers in Silicon Valley work from home. They no longer live their lives at work. Instead, work now lives with them at home. It’s become the newest family member and has settled in, like a newborn, requiring constant attention and devotion.

There’s no telling how work will change for Silicon Valley tech workers and other high-skilled professionals after the pandemic. Some companies, such as Twitter, claim that they are going completely remote for good. Others are so invested in their infrastructures and cultures that they’ll want to return to the way things were. But once we reopen our workplaces, neighborhoods, churches, temples, and gyms, we will have to learn to be with one another again. We will have to re-create our communities. What will we do? The philosopher Alasdair MacIntyre writes that our actions and ethics emerge from our sense of belonging: “I can only answer the question ‘What am I to do?’ if I can answer the prior question ‘Of what story or stories do I find myself a part?’”[7] To whom and to what will we choose to belong? What will we choose to worship?



Notes

*All photographs by Matt Gush, mattgush.com.

[1] Although voter participation in the 2020 presidential election was at an all-time high, general rates of civic participation have trended downward for the past fifty years. See Theda Skocpol, Diminished Democracy: From Membership to Management in American Civic Life (Norman: University of Oklahoma Press, 2003); Robert D. Putnam, Bowling Alone: The Collapse and Revival of American Community (New York: Simon and Schuster, 2000); Robert D. Putnam with Shaylyn Romney Garrett, The Upswing: How America Came Together a Century Ago and How We Can Do It Again (New York: Simon and Schuster, 2020). For marriage rates, see Sally C. Curtin and Paul D. Sutton, “Marriage Rates in the United States, 1900–2018,” National Center for Health Statistics E-Stat, April 29, 2020, https://www.cdc.gov/nchs/data/hestat/marriage_rate_2018/marriage_rate_2018.htm.

[2] Putnam, Upswing, 51.

[3] Jeffrey Jones, “In U.S., Record-Low 47% Extremely Proud to Be Americans,” Gallup News, July 2, 2018, https://news.gallup.com/poll/236420/record-low-extremely-proud-americans.aspx.

[4] To be sure, Silicon Valley was never as community oriented as its longtime residents remember it. It promoted land-intensive, spread-out tract housing long before Google showed up, and it relentlessly segregated Black and Latinx residents away from the park-rich neighborhoods people like Peter rightly cherished. But the tech companies’ appetite for human energy has played a crucial role in the unravelling of civil society, whose consequences are only just beginning to be felt. For the history of suburbanization and racial segregation in Northern California, see Robert O. Self, American Babylon: Race and the Struggle for Postwar Oakland (Princeton, NJ: Princeton University Press, 2005).

[5] Economist Paul Collier makes a similar argument to explain the rise of nationalism and the polarization between the working class and the highly skilled in Western democracies. In the last fifty years, the highly skilled have switched their identity from nation to work because work best “maximizes their esteem,” he claims. The working class that got left behind in the new economy, on the other hand, turned to nationalism. Paul Collier, The Future of Capitalism: Facing the New Anxieties (Great Britain: Penguin Random House UK, 2018), 52.

[6] David Foster Wallace, This Is Water: Some Thoughts, Delivered on a Significant Occasion, about Living a Compassionate Life (New York: Little, Brown, 2009), 7.

[7] Alasdair C. MacIntyre, After Virtue: A Study in Moral Theory (Notre Dame, IN: Notre Dame University Press, 1984), 250.

Carolyn Chen (www.carolynchen.org) is a sociologist and associate professor of ethnic studies at the University of California, Berkeley. She is the author of Getting Saved in America (Princeton), coeditor with Russell Jeung of Sustaining Faith Traditions and the author of the new book, Work Pray Code: When Work Becomes Religion in Silicon Valley (Princeton), from which the above article is excerpted.

Matt Gush (www.mattgush.com) is a photographic journalist based in Southern California, whose work has been collected by National Geographic, featured by The New York Times, and is represented by Getty Images.

Reviews

Notes on our hemispheric inheritance: A Review of Angel Dominguez’s “Desgraciado: The Collected Letters”

José Felipe Alvergue

“This Brown body in repose is never quite in repose, always in question of who will see it, and will they be a threat—do I die today, like this?—this body full of colonization-dystrophy with its instinct to feed upon the flesh of my oppressor? How are you supposed to politely reject your suffering? Genocide is not a matter of opinion.” (27)

There is a haptic, generalized consumption to dystrophy. An appetite that can be insightful and critical, precise, and terminological. It’s also characterized as a wasting away, a concerning health condition. When I read Angel Dominguez’s Desgraciado: The Collected Letters I am invited into a reflection of my own processes of making sense of hemispheric subjectivization, both as a member of a diaspora community as well as someone who grew up on the Tijuana River Valley. I learned there that despite the prehistorically shaped ridge connecting Tijuana to Playas before bowing to meet the Pacific, and the rusted incision of the ‘wall’ itself, la frontera remains an atmospheric experience of exchanges, and relationships. Which is to say, it is a landscape where change and cycle occurs over the event of an origination, ecological and political. The “colonization-dystrophy” of it all is rather dynamic, but not without moments and pains that can and should be named. Dominguez makes a study of this: “Tato’s mother calls it ‘colonial sickness’, the latent radiation poisoning of colonization”; or, it is a “colonial atrophy,” wherein one “can almost feel the atoms falling” away (86). These are the bounds of a vatic attention to the material evidence of a trauma that has become, also, through an entangled archival system of literally manifesting events each time critique inches itself toward a light, a form of expenditure.

“Live from the mystery itself, writing love letters to keep myself alive” (86). 

The moments that shake me from over-theorizing are those where Dominguez concludes on “love.” What comes before and what follows that notion I piece together as an intimacy that is without resolve. It is rather the full expenditure into something. Something like a relationship, or an imagination. An expenditure we might consider in the lost time and history burned in piles during colonial conversions, and the public displays that would accompany its project inquisition.

“What are you going to do about it? Diego, what are we going to do about it? I want all the artifacts back. Museums are a fucking lie. I want my language back. I want to reconcile the many afterlives of colonization that keep raging inside of me; I want to know a love like the burn of belts and chanclas, the RNA memories handed down from flogging and being flogged by our ancestors. I want to know the love of forgiveness. Like how do you put down a dog that attacked you? How do I put you to bed while pulling you back into my blood?

Like a reverse exorcism, I’m calling you into my body. Stay with me.” (43)

But before going on I want to pause and offer some careful thoughts. Maybe they’re not thoughts, in fact, but wisdom from José Estaban Muñoz: “Brown, it is important to mention, is not strictly the shared experience of harm between people and things; it is also the potential for the refusal and resistance to that often-systemic harm. Brownness is a kind of uncanny persistence in the face of distressed conditions of possibility.”[1] When I consider the various ways I’ve come across someone else, someone often Brown, taking the dystrophy Dominguez captures here above, and putting it on the page, giving it a color or texture, associating to it a sound, a movement of the body in space, and so on, I am struck by the condition of supremacy today. It is the marketing pressure to somehow “heal” from the inescapable condition/s it itself maintains from its own lack of communication.

Yet Dominguez’s is a strategy against the spectacularization of the dystrophic condition, which is the objective of supremacy. Supremacy seeks to spectacularize one mode of feeling blunt force by numbing or dismembering the victim from methods of communicating it back, and thereby legitimating (fantasizing) its own power by disenfranchising the relationship power’s violence needs to survive. To write it, is to thus refuse to be afraid of the difference caused by the disjunctive, dissociating world-making that arises from experiencing both harm and life in the persistent manner Muñoz identifies above. To write and name the paradox befuddles the knowledge systems that textualize us. In their epistolary project Dominguez works through the labor of compiling a record of a process and work which have been thought lost to a 500-year-old fire.

“Whereas the psychotherapeutic literature concludes that Latinos suffer anxiety and depression more than any other group,” Muñoz underscores, “the epidemiological literature concludes that they possess better physical health than any other group and live longer than would be expected,” an “uncanny physical persistence” that “has been enshrined within the term ‘epidemiological paradox’ invented to name it.”[2] Or as Dominguez writes, “We are resilient insofar as we are feeling” (80). To find closure, as I understand it, would be to close the loop on feeling, as something that destabilizes the epistemological networks that hold and betray us. It would be the disavowal of a poetics, which others would seek to subsume into theoretical frameworks devoid of feeling but engorged by the self-applause of an advertisement. And I say poetics because of the temporal reconsideration of the dystrophic as a communication-disruption that emerges in colonial contact and is disfigured by the public act of burning language systems and archives during indigenous conversion. There is a poetics that recaptures the vatic temporality of event while creating the very space for the processing of the implicit intimacy it asks.

Desgraciado is a process. “You forced death down the throats of so many,” they write to “Diego,” and “now I have white people to tell me about it. To tell me all about everything it is I lack” (19). The paradigm shift of work like this, at least one aspect of this shift, is recasting the role and animation of “feeling,” especially as it pertains to existence, both intrapersonal and public. Fray Diego de Landa’s notoriety is often furnished by depictions[3] of the auto-de-fé, wherein in 1562 de Landa ordered the destruction of the Mayan codices and over 5,000 devotional images and idols. They were all burned publicly in Mani, Yucatán. Though we might learn about the auto-de-fé in the purely religious context of conversion, the spectacular lesson of a public burning evokes a purposefully and strategically aligned internalization of corregimiento. In a purely aesthetic sense, a sensible sense, I am speaking maybe of depictions of de Landa’s atrocity, where the faces of the burning statuettes plead through color and brushstroke in an unmistakably human manner.

But what I actually mean is that the public burning, as a spectacularization of the power to correct, becomes an intergenerational reality that lives on through the enactment of new violent actions that originate as an attempt to confront and overcome the latent fear that arises when your life is threatened by a power more extensive than any direct, inter-personal encounter with a recognizable other. You end up writing letters to it because the totality of this one-way act is your world, your love, your worries, your partner-in-crime, your lens. You are given it by those in your life, and are above you in a line of inheritance, and they lash out against the fear as if on trial themselves, in an inquisition of themselves via the object (of intimacy) that is you and them, and everything else. “[M]ade to feel a constant estrangement to my truth,” writes Dominguez when reflecting on the abuse from their “then-father” and his “machismo-addled-brain,” which is to say, without absolving his homophobia and violence, the externalized unprocessed damage expressed, powerfully, as burning. One forcibly brought forth as a witnessed event by the inclusion of the abused. “[U]n angel,” as Dominguez signs off (78-79).

Yet there is that other critique, and it’s one I cannot stop thinking about as an immigrant border subject. Which is a rewriting of angelicity itself in the context of hemispheric identity, of Walter Benjamin’s heroic melancholia in regard to historicity. And maybe it takes a sight of a material piece of evidence, like a border, in both the windshield and the rear-view, back and forth, back and forth to understand this looping intimacy. And so, though Dominguez es un angel, they also claim Chaac, the Mayan god of rain. With a lightning bolt in one hand, and literally the power to transform a landscape into the ashen mud of a new form. The most beautiful of days, the most lasting of impressions from being in the midst of the estuary that is the Tijuana River Valley, for me, were those overcast days where a heavy moisture watched over us all in a gently laid weight pressing down on us through the physics of a pulsing gray matter––the immediate experience of an atmosphere felt from below, from being bound to our humanness. I imagine those days as Chaac’s.

The colonizers did one thing meticulously, aside from murder, and that was keep notes. The archives we have of their actions and intentions is impressive. But they don’t speak, so to speak. Dominguez’s decision on the epistle is captivating for the way it speaks to what refuses to respond, and does so in a deluge of writing, which is the reflection of a thinking-feeling-writing-reading. The subject meant to recede into a violent blaze of corrected silence is the one with an abundance of language on the matter of their intimacy. The “collection” is a totality invoked but not recorded by the same system of conversion and erasure. The disruption to the inherent temporality of the letter (the record) functions both on reflection and vatic projection, in that their reception is always already a past, which in its moment was an interval past even that moment of their own event, but thrown into a new authority as the record which will exist in the moment of its intelligibility.

As the collection advances the reader is enveloped in a process.

“…I can’t make a fire. I’m trying to yield more than I advance. I am learning that not all words are always heard or spoken, though in this moment I hope every dictionary snaps its spine into a deafening ocean… A colonizer on every corner. I wonder what they would have called me if your language never came. Between you and me, I really prefer the name Chaac.

Love,

Rain.”  (3)

What I received from the book, and for me the review is maybe about this because of the strength with which I felt it, is permission to unlearn that shame of being burned in public. The disavowal of language that is de Landa’s auto-de-fé is his own, and is a site of reanimated poetics towards the neocolonial burnings and attempted corregimientos. I have no illness to heal from, and though it’s not about absolution, the sheer collection of process here reveals a culminating position within its intimacy, its love, that is also the culmination of (a) work. Our work does not absolve the ghosts of colonialism either, those which carry-on in the flesh-troping obsessions with spectacle, and silence, with new kinds of burning and policymaking, all the violence of today’s supremacy. Angel Dominguez has given us a weapon, a codex with which to fortify and record a new communication.

DESGRACIADO: (the collected letters) by Angel Dominguez © 2022 by Nightboat Books. Used by permission of the publisher. Link to title

José Felipe Alvergue is the author of three books of poetry, most recently scenery, which was selected for Fordham University Press’s Poets Out Loud Editor’s Prize. He is a Senior Poetry Editor for Tupelo Quarterly, and his published scholarship engages with poetics, transnationalism, performance, and democratism. He lives and works in Wisconsin.


Notes

[1] José Esteban Muñoz, The Sense of Brown, 2020, p.4.

[2] Muñoz, 5.

[3] See for example Fernando Castro Pacheco’s mural, “The Spanish bishop Diego de Landa is burning figures of Mayan deities,” Palacio del Gobierno, Mérida, MX.  

José Felipe Alvergue is the author of three books of poetry, most recently scenery, which was selected for Fordham University Press’s Poets Out Loud Editor’s Prize. He is a Senior Poetry Editor for Tupelo Quarterly, and his published scholarship engages with poetics, transnationalism, performance, and democratism. He lives and works in Wisconsin.

Excerpts

A People’s Guide to Orange County

Elaine Lewinnek, Gustavo Arellano, and Thuy Vo Dang

Home to Disneyland, beautiful beaches, neo-Nazis, decadent housewives, and the modern-day Republican Party: this is Orange County, California, in the American popular imagination. Home to civil rights heroes, LGBTQ victories, Indigenous persistence, labor movements, and an electorate that has recently turned blue: this is the Orange County, California, that lies beneath the pop cultural representation, too little examined even by locals.                  

First advertised on orange crate labels as a golden space of labor-free abundance, then promoted through the reassuring leisure of the Happiest Place on Earth, and most recently showcased in television portraits of the area’s hypercapitalism, Orange County also contains a surprisingly diverse and dis- cordant past that has consequences for the present. Alongside its paved-over orange groves, amusement parks, and malls, it is a place where people have resisted segregation, struggled for public spaces, created vibrant youth cultures, and launched long-lasting movements for environmental justice and against police brutality.

Memorably, Ronald Reagan called Orange County the place “where all the good Republicans go to die,” but it is also a space where many working-class immigrants have come to live and work in its agricultural, military-industrial, and tourist service economies. While it is widely recognized for incubating national conservative politics during the Cold War, recently the legacy of Cold War global migrations has helped this county tilt Democratic, in a shift that has national consequences. It is a county whose complexities are worth paying attention to.

Every day, thousands of people drive past Panhe at the southern Orange County border without knowing that it is there. A village thousands of years old, where the Acjachemem Nation of Indigenous people still gather regularly, Panhe is visible from the 5 freeway if you know where to look. Nearby, a few miles inland from Panhe, is the Capistrano Test Site, where President Ronald Reagan’s “Star Wars” program of laser missiles was secretly developed in the 1980s until its weapons of mass destruction were exposed by a brush fire. Both sites are reminders of the long, varied, and little-known history of Orange County, from an Indigenous village to a military-industrial laboratory. Our book, A People’s Guide to Orange County, aims to reveal that diverse range of Orange County’s past and present, exposing stories that are too often forgotten.

Orange County is the fifth-most-populous county in the United States. If it were a city, it would be the nation’s third-largest. If it were a state, its population would make it larger than twenty other states, larger than Iowa or Nevada, larger than New Hampshire and Montana combined. Political scientist Karl Lamb declared in his 1976 book of the same name that “As Orange Goes,” so goes the nation, but it was not quite clear where Orange County was going in 1976 or, indeed, where it is going today. As queer studies theorist Karen Tongson explains: “Orange County is at once a conservative hotbed, an immigration hot zone, and a sub- urban fantasyland of modern amusement… a site of oscillation [between] provincialism and cosmopolitanism,” veering also between frontier nostalgia and postmodern sunbelt sprawl. Its Cold War growth, its supposed exceptionalism, and its separation from Los Angeles County have all earned it the descriptor of being “behind the Orange Curtain,” but Tongson argues that looking and listening beyond the Orange Curtain reveal a “mess and cacophony” that would shock Walt Disney, with his famed commit- ment to orderly control. It is the tangled stories and unlikely alliances that make Orange County such an intriguing and pivotal place, and those stories are the focus of our book.

Annually, forty-two million tourists visit here, but Orange County tends to be a chapter or two squeezed into guidebooks centered on Los Angeles. Mainstream guides direct tourists to Orange County’s amuse- ment parks and wealthy coastal communities, with side trips to palatial shopping malls—the same landscapes that have long dominated popular knowledge of the region. If you have three days here, spend two of them at Disneyland and the third visiting shops, spas, or Knott’s Berry Farm, according to the Lonely Planet’s Los Angeles, San Diego, and Southern California guide. Careful readers may notice that some guide-books also note the presence of Little Saigon, the shuttered conservative megachurch Crystal Cathedral, the quaint revivalism of Old Towne Orange, and the sentimentalized nostalgia of Mission San Juan Capistrano, but even in the longest guidebook, Insider’s Guide to Orange County, one must search for sites to visit away from Orange County’s predominantly wealthy, largely white coast. It is only The Insider’s Guide chapter on “Relocations” that mentions that those who cannot afford to spend millions on housing might need to live in the inland portions of this county. Of the guides for tourists, only the Lonely Planet recommends any sites in the half of the county north of the 5 freeway, and then only two: the Richard Nixon Library in Yorba Linda and Glen Ivy Hot Springs, a popular Southern California resort that is, oddly, across a mountain range and in another county entirely.

Tourists who rely on these guidebooks do not get to see Orange County’s most heterogeneous half, the northern and inland spaces where, in the county’s first half century, the vast majority of oranges were grown alongside oil derricks, herds of sheep, and groves of loquats and lemons. Now many of the wealthy suburbanites of southern Orange County depend on service sector workers who live in northern Orange County or beyond, often forced into long commutes by the high costs of housing closer to the coast. Orange County is not simply the wealthy “California Riviera” that Fodor’s Los Angeles with Disneyland claims it is—and even the Riviera requires workers who merit attention.                                      

Geographically, Orange County is a wide basin, stretching from the mountains at its eastern edge to the ocean at its west, situated between the powerful metropolitan regions of Los Angeles to the north and San Diego to the south. Many popular tourist guidebooks do not even name Orange County in their titles, instead referring to Los Angeles, San Diego, and Disneyland. The county’s boundaries are two creeks—Coyote Creek to the north, which feeds into the San Gabriel River, and San Mateo Creek to the south—and Orange County itself centers on the broad floodplain of the Santa Ana River. Current-day residents may forget about these waterways as they drive along freeway overpasses above the concrete basins that contain intermittent water. Southern California is famous for forgetting its own past, but it also holds the archival records and memories to correct that widespread cultural amnesia, and the landscape itself still has stories to tell.

Although existing guidebooks minimize it, Orange County has a deep history. Human habitation of Southern California began more than nine thousand years ago, when Indigenous people thrived along Orange County’s coast and rivers, foothills and mountains, as well as the Channel Islands nearby. The county is now full of sites associated with Native American people as well as ongoing, contemporary Indigenous activism. The Tongva people, whom Spanish missionaries called Gabrieliño, inhabited northern parts of present-day Orange County. The Acjachemem people, whom Spanish missionaries later referred to as Juaneño, were centered on San Juan Capistrano. Their tribal networks reached far: both the Tongva and Acjachemem languages are part of the Uto-Aztecan family, which stretches from current-day Utah to Texas to central Mexico.

During the Spanish colonial era of 1769–1821, Indigenous people were dispossessed of much of their land, especially along the coastal plain, and the Spanish crown granted large tracts of land to Spanish settlers. The largest Spanish land grant in all of California, Rancho los Nietos, stretched from Whittier in Los Angeles County across Orange County to the Santa Ana River, covering a territory of three hundred thousand acres (today eighteen different towns), all presented to retired Spanish soldier Manuel Nieto. This grant was so vast that the San Gabriel Mission in Los Angeles contested its terms, claiming it encroached on mission land. Colonial courts did not mention that it also encroached on Indigenous land. In 1810, the Spanish king gifted another retired soldier, Jose Antonio Yorba, with Rancho Santiago de Santa Ana, stretching twenty-five miles along the southern side of the Santa Ana River, where Yorba had already been grazing cattle with his father-in-law. Those rancho cattle disrupted the environmental resources that the Acjachemem and Tongva people had relied on, increasingly pressuring Native people into coreced, unpaid labor in the missions. The enormous Spanish land grants and the colonial system of forced labor also set the stage for later rounds of land transfer and dispossession, shaping Orange County’s ongoing disparities between rich and poor, owners and workers.        

When Mexico gained its independence from Spain, after 1821, Rancho Los Nietos was broken into six smaller ranchos, and mission property was redistributed, with ongoing controversies over Indigenous land claims. Some Mexican settlers were given land in the northern foothills of present-day Orange County, slightly more modest grants the size of present-day cities. Larger ranches in southern Orange County were granted to the Sepulveda, Serrano, and Pico families and were also sold to newly arrived Anglo merchants like John Forster, Abel Stearns, and William Wolfskill, who became Mexican citizens in order to legally own land here. While Orange County contains the largest land grant in California, Rancho los Nietos, it also has the smallest, the Rios Adobe: a house lot of 7.7 acres in San Juan Capistrano, presented in 1843 to the Rios family, members of the Acjachemem Nation, who still live in the home their ancestors first built there in 1794.

US conquest in 1848 brought new land commission policies challenging the terms of Spanish and Mexican land grants, forcing the ranchos’ owners to defend their land titles in expensive court cases. Anglo squatters, new taxes, lack of access to capital, and droughts all combined to force most of the earlier owners to sell their land. During the devastating droughts of 1862 and especially 1864, wheat crops wilted and thousands of starving cattle were driven in mercy killings off the cliffs into the ocean. Most of Orange County’s land passed from Indigenous and Mexican American owners to Anglo ones. James Irvine, Lewis Moulton, Richard O’Neill, and Dwight Whiting consolidated some of the earlier ranchos into their own vast landholdings for the next century.

In between the ranches, in the swampier areas around the Santa Ana River as well as the foothills, Orange County also gave birth to utopian communities that challenged class hierarchies. Before it became a center of twentieth-century conservatism, many of Orange County’s nineteenth-century European settlers were actually radicals taking advantage of cheap land that had been expropriated from Indigenous people and then Mexicans, where the Europeans could experiment with new societies. A cooperative colony of German wine makers founded Anaheim in 1857, relying on Chinese laborers. Polish artists also attempted a utopian society in Anaheim before moving in 1888 to Modjeska Canyon near Santiago Peak. So many Mormons and Methodists settled in the floodplain of the Santa Ana River, in present-day Garden Grove, Santa Ana, and Fountain Valley, that it was known as Gospel Swamp. Vegetarian spiritualists lived in Placentia from 1876 to 1923, near Quakers in Yorba Linda. Other Quakers settled in El Modena, while free-love socialists from the Oneida community established a colony in Santa Ana in the 1880s, gaining enough respectability to serve as the county’s first judges. Few remember those early experimenters, but they were here.

The completion of transcontinental railway connections to Los Angeles in the 1880s helped connect Orange County agricultural products to national markets and encouraged a speculative land boom. Rising land prices here increased political power among Orange County’s landowners, who probably bribed the state legislature to allow them to secede from Los Angeles County in 1889. This county could have been called Grape, Celery, Walnut, or Lima Bean County, since those were the area’s major crops at the time of secession, but boosters decided that the luxurious, exotic image of oranges would sell the most real estate. Eventually, the citrus industry grew so that Orange County did live up to its name. In 1893, citrus growers organized the Southern California Fruit Exchange, later renamed Sunkist, an oligarchical corporate organization that consolidated power across Southern California. Employing Native American, Chinese, Japanese, Filipino, Mexican American, Dust Bowl, and Jamaican workers, the Sunkist corporation exercised tight managerial control over the diverse people who planted and harvested the orange groves. The conditions of labor were justified by growing ideas about racialization. As Japanese American farmer Abiko Kyutaro observed in the early twentieth century, California was “A wasted grassland / Turned to fertile fields by sweat / Of cultivation: / But I, made dry and fallow / By tolerating insults.”

Pressel Grove in Anaheim, one of the last remaining orange orchards in Orange County, and also a site that set off the 1936 Citrus Wars when police battled with striking naranjeros. Photo courtesy of Paula Beckman.

While Orange County’s agribusinesses created a racialized workforce, they also marketed a vision of this state as a nearly labor-free paradise of abundantly productive land. Huntington Beach farmer Luther Henry Winters designed much of the California exhibit at the 1893 Chicago World’s Fair, bringing Orange County products to a wide audience. Fullerton’s Charles Chapman pioneered the use of orange-crate labels to market both oranges and Southern California. Few people of color ever appeared on these orange-crate labels, and when they did, it was either as servants, cast members in California’s Spanish-fantasy past, or signifiers of nature. Enormously popular and widely circulated, orange-crate labels did not picture most of the transnational workers; nor did they show the oil derricks, the cyanide sprayers, the heavily patrolled fields, the vibrant cultural communities of “picker villages,” or the labor protests that also emerged from Orange County’s agribusiness.

World War II was a turning point for Orange County, as for much of California. Its strategic location, open space, fair weather, and political influence drew the Santa Ana Army Air Base, the Seal Beach Naval Weapons Station, and Marine Corps air stations in Tustin and El Toro, as well as Camp Pendleton just over the border in San Diego County, which brought in military personnel as well as defense-related industries. The military presence here enabled new employment opportunities, especially for Orange County’s Indigenous people and African American people.         

After 1945, Cold War federal defense spending led to sprawling growth centered on a military-industrial and service economy, in a pattern of expansion repeated across the Sunbelt South and West. The U.S. Department of Defense budget ballooned in the 1950s to $228 billion, including $50 billion to California alone, more than any other state, and most of that sum went to Orange County and its neighboring counties. By 1960, the county contained thirty-one thousand workers in defense-related industries, includ- ing Hughes Aircraft, American Electronics, and Beckman Instruments in Fullerton, Autonetics and Nortronics in Anaheim, Collins Defense Communications / Rockwell International in Santa Ana, Lockheed Martin in Irvine, and Ford Aeronutronics in Newport Beach. Related industries, from fast food to real estate development, followed. Construction of the I-5 freeway, connecting Los Angeles to Santa Ana to San Diego in the 1950s, further spurred business and residential growth. The county’s population increased nearly fourfold from 113,760 in 1940 to 703,925 in 1960, then doubled again to 1.5 million by 1970 and doubled again to more than 3 million today.

That disorienting, sudden growth and the lack of traditional town centers in postwar suburbia converged with the individualist philosophies of earlier ranch owners and right-wing local media, so that many of Orange County’s Cold War migrants eventually found ideals of community and tradition within new megachurches and a new strain of conservative politics that took root in Orange County’s postwar tract housing. Suspicious of federal power even though dependent on it, a grassroots cadre of mostly female Orange County conservative activists spread their political message at coffees and backyard barbecues, organized “Freedom Forum” bookstores, served on local school boards, and pressured the local Republican Party in ways that eventually reoriented conservatism in America as they advocated for the elections of Goldwater, Nixon, and Reagan.

Philip K. Dick found postwar Orange County an ideal space from which to write dystopian science fiction, including his classic Do Androids Dream of Electric Sheep?, later filmed as Blade Runner. Dick describes this space memorably in A Scanner Darkly (1977) when his disillusioned narrator observes: “Life in Anaheim, California, was a commercial for itself, endlessly replayed. Nothing changed; it just spread out farther and farther in the form of neon ooze. What there was always more of had been congealed into permanence long ago, as if the automatic factory that cranked out these objects had jammed in the on position. How the land became plastic.” Despite that vivid and often-apt description, the tract homes and mini-malls of Orange County do change and are also contested.                  

In the decades after 1945, Orange County became a leader of privatization, developing the nation’s first planned gated community, one of the first age-segregated retirement communities, the first homeowners’ associations, and the first privatized toll road. Along with the enclosure of newly privatized residential communities and roads went increasing construction of carceral spaces, from local jails to a military brig and an international border checkpoint. Yet conservative politics, privatization, and enclosure are not the only stories here. Environmental and Indigenous activists waged decades-long movements, eventually achieving the preservation of Bolsa Chica Wetlands in 1989, the shuttering of the San Onofre Nuclear Generating Station in 2013, and the defeat of a proposed privatized toll road at Trestles surf spot in 2016.       

Mark Faegre and Melissa Shattuck protesting at the San Onofre Nuclear Generating Station in 1979. In a startlingly long social movement, protests at San Onofre began in 1963, as soon as the nuclear generating station was planned, eventually led to its shutting down in 2013, and continue to ask questions about long-term storage of nuclear waste there. Photo courtesy of Douglas Miller.

Even before those environmentalist successes, local people of color allied with civil rights organizations to bring pathbreaking lawsuits here: housing covenant case Doss v. Bernal (1942), school desegregation case Mendez et al. v. Westminster (1946), and housing desegregation case Reitman v. Mulkey (1967). That resistance came at a steep cost: too many of this county’s midcentury radicals died young from stress-related illnesses. Nevertheless, their achievements belie the county’s well-earned reputation for conservative politics, which grew from the prominence of the extremist John Birch Society in the 1960s through the antigay Briggs Initiative of 1978 and the anti-immigrant Proposition 187 campaign that originated here in the 1990s.

Many of the stories in our book are contrapuntal ones, as this county often contains the seeds of its own oppositional movements. This area that boosters advertised as a white rancher’s paradise relied on transnational workers on Indigenous land claimed by successive waves of colonizers: Spain, Mexico, and then the United States. The Sunkist corporation promoted strict capitalism for workers but a sort of socialism for owners, as they pooled their resources collectively. The postwar military-industrial complex here fueled much of the county’s conservatism, but it was those same large aerospace and electronic corporations that first employed minority workers here in anything other than menial or agricultural jobs, partly to meet federal antidiscrimination requirements. Orange County’s mega-churches led some of its conservative activism, but faith-based organizations have also made this a center for international refugees who have brought their own wide range of politics. The military presence here encouraged some of Orange County’s conservatism, but it was also military personnel who desegregated much of this county and created openings for LGBTQ individuals to express themselves.                              

Academic observers debate whether Orange County’s thirty-four cities are an enormous suburb or a multinucleated post-suburban space, where housing is interspersed with extensive retail and light industry, while some agriculture and military uses remain alongside neighborhoods that range from working class to ultraelite. Orange County is both its suburban image and the cracks in its own veneer.

In coastal South County, Laguna Beach’s art scene attracted famous gay bars and enabled the first openly gay mayor in California, but it was in North County, in a space that had recently held small dairy farms and strawberry patches, that even more gay bars flourished, as community entrepreneurs found opportunities in an overlooked space with affordable rents. Eventually, international refugees also settled in pockets of cheaper land that others had not wanted in Westminster and its modest neighboring communities, establishing Little Saigon, Little Arabia, Koreatown, and enclaves of Filipinos, Armenians, Cambodians, and Romanians in Orange County.  

In 2004, the US Census Bureau announced that Orange County had become majority minority: more than 50 percent of its residents were people of color, a trend that has continued its upward trajectory so that in 2019, 60 percent of the county was not white. The county’s steadily increasing racial diversity is a legacy of its role in the Cold War as well as a result of its location near the US-Mexico border and its role as an important hub in the Asian-Pacific economy. Orange County holds the largest Vietnamese community outside Vietnam and for years contained the largest city in the United States with an all-Latinx city council.

The Orange County Visitors Association advertises this county as a space for “family-friendly fun . . . a taste of the good life” and “the real California dream.” That pervasive image of California leisure has a global appeal, inspiring an “Orange County” gated community outside Beijing, as well as two “Orange County” luxury resorts in India. Orange County’s image is global because Orange County itself is global. In the 1980s, Newport Beach was the first place in the US outside Washington, D.C., to have an export- licensing office. The county’s seat, Santa Ana, is overwhelmingly Latinx, while other cities across the county, from La Palma to Irvine, are majority or near-majority Asian. It may be one of the few counties in the United States where most Starbucks baristas can correctly spell and pronounce the name of one of our coauthors, Thuy. It is also the county where the coauthor whose family has been here the longest, Gustavo, is the one most often mislabeled as an immigrant. It is a varied and contradictory place of multicultural borderlands and economic struggles rooted in geography, history, and politics.         

Lucy Gortarez at the June, 1972 student walkouts at El Salvador Park, Santa Ana, when middle- and high-school students called for more ethnic studies, more Spanish-speaking school staff, and an end to mass suspensions. Their demands were met with more suspensions but today, all California high school students will have ethnic studies classes, where we hope they will learn about forebears like Lucy Gortarez. Photo courtesy of the Los Angeles Times.

Genevieve Carpio, Wendy Cheng, Juan de Lara, Romeo Guzman, and Carribean Fragoza have all recently published thoughtful works recentering the margins of Southern California studies. As Carpio observes, an “Anglo fantasy past” has suffused much heritage tourism in Southern California, showcasing Anglo pioneers while obscuring the nonwhites who have also been here all along. Indigenous, Asian, and Latinx people have been part of Orange County since its beginnings as a county. During the early years of European settlement, it was people of color who constructed the irrigation canals, planted the fields, built the railways, and picked and packed the crops. They also faced widespread dispossession, from Tongva and Acjachemem territories, to the nineteenth-century Chinatowns in Anaheim and Santa Ana, to the early twentieth-century Mexican American citrus worker colonias. Working-class people of color have been pushed off the land and out of public memories in two related dispossessions, one geographic and one discursive. Our book is an effort to address that erasure.                                              

This means refocusing on overlooked peoples and questioning who gets to lay claim to the image of Orange County. It also means refocusing on the vernacular landscape, the ordinary, seemingly unremarkable spaces that often contain extraordinary stories. Take the county seat, Santa Ana. A shuttered barbershop there was central to the civil rights movement and national fair housing laws. Nearby is a parking lot that used to be Santa Ana’s Chinatown before authorities deliberately burned it down in 1906. Groups of Asian Americans began moving back to Santa Ana in the 1970s, and in 2016 two Orange County activists founded Taco Trucks at Every Mosque at a Cambodian Muslim mosque in Santa Ana. Palestinian American activist Rida Hamida explains that this is a movement to get to know her many Latinx neighbors while breaking the Ramadan fast and mocking the Republican strategist who worried about a taco truck on every corner. That activism growing from Middle Eastern, Asian, and Latinx communities living side by side is an Orange County story worth knowing, but it is not the Orange County many people think they know.

Geographers recognize that landscapes are often constructed in ways that obscure the conditions of their own production. Vernacular landscapes in particular can appear to be so ordinary as to be easily overlooked. Our book aims to refocus attention on the sometimes plain-looking landscapes of Orange County: the parking lots like Santa Ana’s Chinatown and vacant-seeming areas like Capistrano Test Site, as well as the gated communities, office parks, suburban houses, university buildings, and other ordinary spaces that actually contain extraordinary stories. Powerful wealthy interests, persistent grassroots activists, desires for an affordable labor force, the natural flow of water, and numerous debates over how to best use the land have all shaped this contested space.

While many landscapes may appear ordinary and unproduced, places have a remarkable ability to intervene in collective memory. Once you know where a lynching tree is, it can be hard to forget the forces that gathered at that spot. As cultural geographers from Dolores Hayden to our colleagues in the People’s Guide series have pointed out, there is a power of place to contain public memories, especially when scholars expose the less noticed peoples’ histories there and connect those stories to larger structural forces. Palm-studded ocean vistas that once included affordable housing, tracts of seemingly endless beige walls in neighborhoods where most of the signage is in languages other than English, traffic jams, open space, the very classrooms where some of our readers may sit, and the buried nuclear waste here are all rooted in long-running debates over how Orange County’s people should use this land and who counts as Orange County’s people at all.                                

In Orange County, examining the diverse past can be frowned upon or actively repressed by those invested in selling Orange County in the style of its booster Anglo settlers from 150 years ago. Our book tells the diverse political history beyond the bucolic imagery of orange-crate labels. We hope it will inspire readers to further explore Orange County and reflect on even more sites that could be included in the ordinary, extraordinary landscape here.


Dr. Elaine Lewinnek is professor of American Studies and chair of the Environmental Studies program at California State University, Fullerton. She has a Ph.D. in American Studies from Yale University and is the author of The Working Man’s Reward: Chicago’s Early Suburbs and the Roots of American Sprawl.

Gustavo Arellano is a columnist for the Los Angeles Times, covering Southern California everything and a bunch of the West and beyond. He is author of Taco USA: How Mexican Food Conquered AmericaOrange County: A Personal History, and Ask a Mexican.

Dr. Thuy Vo Dang is Curator for the University of California, Irvine Libraries Southeast Asian Archive and Research Librarian for Asian American studies. She has a Ph.D. in ethnic studies from UC San Diego and is co-author of the book, Vietnamese in Orange County. Thuy serves on the board of directors for Arts OC and the Vietnamese American Arts & Letters Association.

Notes:

Excerpt taken from A People’s Guide to Orange County (UC Press, 2022)

Reviews

Haunted by a Prison that Never Was: A review of The Shadow of El Centro: A History of Migrant Incarceration and Solidarity

Daniel Morales

In June 2019, U.S. Representative Alexandria Ocasio-Cortez described Donald Trump’s detention centers, especially those holding separated children, as concentration camps. Her accusation created a controversy in the media over the use of the term “concentration camps” to describe immigration detention centers. Some pundits argued that the use of the term was an exaggeration that drew an equivalence between migrant detention centers and Nazi concentration camps and the holocaust. Activists and scholars have countered that concentration camps had a long history of use around the world that included: Native American wars, the Philippine-American War, and the Boar War among many uses. Into this conversation steps Jessica Ordaz and her timely new book, The Shadow of El Centro. Ordaz, assistant professor of ethnic studies at the University of Colorado Boulder, deftly shows the extent to which detention, control, and violence have come to dominate America’s response to undocumented immigration through a history of one of America’s oldest detention facilities, El Centro, in the city of El Centro in the Imperial Valley of California.

The El Centro Immigration Detention Center operated from 1945 to 2014, encompassing seven decades of changes in the way the U.S. detains undocumented migrants, not for the better. Ordaz shows just how different notions of what is “normal” operated across most of the twentieth century and twenty first century. She follows the detention of German merchants taken during World War II who were allowed incredible freedoms by later standards. That facility came to house Japanese detainees and after the war, under the INS, became El Centro. Ordaz makes it clear that the primary difference in how people were seen and treated was race; placing the detention of people of color in the long history of settler colonialism, conquest, slavery, and forced labor. In this context the term concentration camp was used casually at the time to describe various forced camps in the 19th and early 20th century, including WWII camps. The name of camps’ location itself carries these historical echoes; the Imperial Valley of California was named for the agricultural company that promoted literal colonial imperialism and dispossession from the local native people.

The way El Centro’s officials detained Mexicans and Central Americans reflected and created racialized hierarchies. Just as white farmers viewed Mexicans as racially fit to stoop labor, so did INS officials who saw no issue with forcing detainees to labor in hundred plus degree heat. The forced labor system that the INS ran for decades is then one of the central components of control over the agricultural labor economy of the Imperial Valley, along with its sibling, the bracero processing center, and ports of entry. Migrants are seen as dangerous and criminal, subject to control by all these entities. Their bodies are seen as potential vectors of disease, so they are stripped and doused with dangerous chemicals. As the story moves from the 1940s to the 1970s and 1980s, migrants, especially Central Americans, come to be seen as potential subversives in the Cold War, subject to imprisonment and removal from the country.

The book uses the metaphor of haunting to think about how the past keeps on shaping the present. Ordaz answers Giorgio Agamben’s call to “investigate carefully the juridical procedures and deployments of power by which human beings could be so completely deprived of rights and prerogatives that no act committed against them could appear any longer a crime.” As Ordaz reminds readers, migrants in these camps are “detainees” not prisoners, the camps are “detention centers” not prisons. El Centro was never a prison in the legal sense. This is because the inmates have not been convicted of anything, they are usually not even facing criminal prosecution. Violating immigration law is an administrative offense, not a criminal one. However, they are treated as if they are inherently criminal, with all the trappings of the industrial prison complex. They are subject to forced labor, arbitrary rules like a requirement to wear hats at all times, a lack of rights, solitary confinement, and a shocking degree of routine violence. The legal fiction of administrative law places much of the migration detention and deportation system beyond the reach of judicial review, meaning that migrants do not have the constitutional protections criminal defendants have.

Yet, from inside of El Centro and similar facilities, migrants have found ways to resist their circumstances. Unlike many scholars who focus on migrant policies, legislation, and law, Ordaz looks at how these policies worked on the ground. She shows a culture of abuse, where racialized violence is rendered normal. Guards beat migrants with impunity and cease to see them as fellow humans. In response migrants find ways to resist, by escaping, sometimes across the nearby border into Mexico. In the 1970s Mexican activists protested conditions and sought asylum. In 1985 a group of Central Americans staged the largest hunger strike in El Centro’s history and filed a series of lawsuits. The lawsuits Ordaz explores provide a counterpoint to INS manuals and reports in illustrating individual stories of abuse and death and attempts to push back.

While immigration ports of entry like Ellis Island are accorded a large place in public imagination, commemoration, and scholarship, places of detention like El Centro are largely unknown. Angel Island occupies something of a middle ground, a port of entry that was also a detention center, mostly of Asians, for which there is increasing public awareness. Most detention centers on the other hand are anonymous, places on rural landscapes far from urban centers, not known outside their local communities. Few exist beyond a decade or two, which makes the story of El Centro unique. The El Centro Immigration Detention Center and the stories of those who resisted detention deserve to be better known and memorialized in the landscape.

At El Centro, the use of forced labor, regularized violence, and solitary confinement on civilians who have not been convicted of anything were so normalized the guards did not call them into question. And the law provided impunity. The way the law was structured made it nearly impossible to hold people and institutions accountable, giving license to abuse. Ordaz argues that this was not an anomaly, but central to how detention and deportation function in America. This is what activists in the 1940s, 1960s, 1980s, and today were calling attention to by deploying the term ‘concentration camp.’ Ordaz is part of the wave of scholarship that criticizes the prison industrial complex, the migration detention system, and the racialization of Latin American migrants in the United States. She builds on them by showing what these policies engender in facilities and on too many migrant lives. Ultimately, her account asks us: would it not be better if all detention centers were abolished?

The Shadow of El Centro: A History of Migrant Incarceration and Solidarity by Jessica Ordaz. Copyright © 2021 by University of North Carolina Press Chapel Hill Used by permission of the publisher. Link to title

Daniel Morales is an assistant professor of history at Virginia Commonwealth University specializing in Latinx history, immigration, and public history. He is from Azusa California and earned his Ph.D. in history from Columbia University in 2016, and B.A. at the University of Chicago in 2008. His research focuses on the social and economic history of migration between Latin America and the United States. His upcoming book Entre Aquí y Allá: The Political Economy of Transnational Mexican Migration, examines the creation of transnational migratory networks across Mexico and the United States in the twentieth century.

Articles

Navigating Anti-Black Racism in the Concert Hall: Timpanist Elayne Jones and the Challenge of Inclusion

Grace Wang

In a hand-written letter addressed to the personnel manager of San Francisco Symphony (SFS) in January 1972, Elayne Jones expressed interest in auditioning for the orchestra’s upcoming timpani opening. She was confident in her talent and ability, noting how her sterling musical reputation had established her as “first call for just about every freelance job which requires tympani.”[1] “This fact,” as she wrote, “is considered quite remarkable given that I am neither a male or white” in a field overwhelmingly dominated by both. Indeed, as an African American woman navigating a field of culture perceived and elevated through segregationist practices as “white man’s music,” she defied assumptions about who should play Western classical music; moreover, she played timpani, an orchestral percussion instrument typically understood in her profession as “male.” Jones was accustomed to performing under extraordinary scrutiny and skepticism — to being the only and often the first in the orchestral spaces she entered. Still, she had no interest in pursuing an audition in vain. And thus, she inquired: “Would there be any point to my coming out to audition? … I’m aware this is not the type of question to ask point blank, but at the same time it isn’t fair to travel so far and prepare for this with hopeful expectations if there is really no chance.”

In posing this question, Jones alluded to the history of racism that left nearly “no chance” for African American musicians to secure professional symphony orchestra positions, regardless of their training and ability. Orchestra auditions had long been inequitable, governed by the whims and outsized influence of autocratic conductors, favored principal players, and management, which failed to advertise openings publicly. While such practices could feel opaque and undemocratic to all musicians, for Jones, they emblematized the institutional racism of a musical culture that actively excluded her. She, alongside other African American musicians, had spent years advocating for fairer audition procedures. They organized, among other things, for “blind” auditions — auditions held behind a screen so the player’s identity would remain obscured.[2] Given the long history of segregation and racism both in and beyond the orchestral field, many Black musicians believed that only an anonymous audition process would allow for an impartial assessment of musical ability. By 1972, some orchestras, including SFS, had begun conducting preliminary rounds behind a screen. Recounting how she eventually won the position with SFS, Jones credits the screen for her success: “I wouldn’t have gotten the job if the screen wasn’t in play. I’m the recipient [laughing] of a thing that I worked on.”[3]

There is a burgeoning movement in Western classical music to upend traditional hierarchies and to reimagine this traditionally exclusive cultural field. These efforts have intensified in the post-George-Floyd era, as the classical music field grapples with its own complicity in anti-Black racism and white supremacy.[4] Jones, a 93-year-old classical musician, socialist, and self-proclaimed “stealth bomber” is a key figure whose life work of linking musical advocacy with social justice prefigures this current moment. In what follows, I ask what her struggles in San Francisco allow us to understand about the systemic racism embedded in the classical music field. Jones often despairs at the unchanged landscape of orchestras, lamenting that “to this day, you still have maybe one percent of Black musicians in all of the orchestras in the world.”[5] The barriers she faced in her career help us understand how this situation persists while also inserting into the historical record the efforts of working musicians like herself “who were willing to flare up and be an issue.”

Jones at the timpani in her home at Rossmoor, 2019. Photo by author.

I first met Jones years ago after attending a friend’s violin recital at Rossmoor, an active senior community located in the upscale suburban community of Walnut Creek in Northern California. An anomaly in the homogeneous whiteness of Rossmoor, I had already noticed Jones in the audience when she approached me after the concert, curious about my own presence. Gregarious and highly social, Jones quickly launched into a series of questions: “Had I heard of the San Francisco Symphony? Juilliard? Tanglewood?” As I later came to realize, Jones often introduces herself this way, highlighting these elite music institutions as a way to invite discussions into her past. Having researched the politics of race in classical music for Asian/Asian American musicians, I was intrigued by the fragments of her life she shared. I began visiting her for long conversations over meals. I knew Jones was engaged in a decades-long project of writing a memoir. This process led her to be introspective about her life and its meaning. But as her health began faltering, I began recording more formal oral interviews. Here, I focus on Jones’s musical experiences in San Francisco, a city that looms large in her own life narrative. When she arrived in San Francisco, the local press heralded her position with the orchestra as evidence of the city’s progressiveness. But Jones soon encountered significant backlash, including a well-publicized tenure denial. Drawing on her self-published memoir and extensive oral interviews, I highlight both the radical imagination that guides her life and the accumulated costs of pursuing artistic excellence in the face of persistent racial and gender exclusions.

Jones at the timpani, 1972. Photo by Don Jones, Courtesy of San Francisco Symphony Archives.

San Francisco and the Battle for Tenure

A Harlem native, Jones planned to stay in New York for her entire career, viewing the city as the epicenter for both her racial advocacy and musical ambitions. But San Francisco sparkled with its reputation as a progressive cultural and activist oasis. She had never visited the “fabled city on the Bay” before auditioning for SFS but quickly fell in love, enraptured by the scent of eucalyptus leaves in Golden Gate Park, the ease of mild winters, and the colorful architecture that seemed to exude optimism and promise. She believed San Francisco represented a place less entrenched in racism. She left New York fully expecting to remain with SFS until her retirement.

Given the paucity of non-white musicians in any major symphony during the 1970s, Jones’s presence at SFS served as validation of the city’s progressiveness and difference. The symphony’s young Japanese conductor, Seiji Ozawa, already burnished this image. A coveted star on the rise when SFS hired him in 1970, Ozawa embodied a sense of newness and excitement. As Larry Rothe recounts in his history of the orchestra, music critics hailed Ozawa as the “Now Generation Conductor,” captivated by his youth, the novelty of his ethnicity, and his generally “hip” style: turtlenecks, Nehru jackets, long shaggy mane, medallions, and love beads. Jones fit seamlessly into this marketing of San Francisco and its symphony orchestra as a “break with the past” and part of the “now.”[6] Together, Jones and Ozawa heralded a new era; they projected a forward looking vision of classical music.

San Francisco Symphony Music Director Seiji Ozawa and members of the orchestra outside airplane on 1973 European/USSR Tour. Photograph by J.C. Watts and Partners Commercial Photographers, Courtesy of San Francisco Symphony Archives.

Jones’s orchestral debut in San Francisco began auspiciously with a glowing review in the San Francisco Chronicle, where the music critic Heuwell Tircuit proclaimed: “Major event — one not listed on the program — was the local debut performance of the Symphony’s new timpanist, Elayne Jones. Sensational! Absolutely sensational … Clean articulation, fine intonation, and technical savvy — a particularly fine roll, smooth as butter — rich tonal sensibility, and what was really mind blowing, she phrases.”[7] Jones included an excerpt of the review in the “Peace Day” holiday greeting sent to family and friends that year.

When I came across this holiday greeting nestled amongst the abundance of documents and ephemera accumulated in her home over the decades, it struck me in its promise and anticipation of a rosy future. Today, it remains a lingering snapshot of what could have been. Looking at it, I am reminded of William Cheng’s writing on loving music, how that love can be weaponized to dehumanize others, and the resulting “pain of unrequited love.”[8] Jones loved playing in a symphony orchestra. She reveled in the sounds of instruments coming together and creating palettes of such wondrous beauty. She maintained this love, even when its doors remained closed to her. Finally, Jones believed that her dedication to craft and musical excellence would be recognized and returned if not by love, than with tenure and membership in one of the nation’s most celebrated orchestras.

1972 “Peace Day” holiday greeting. Courtesy of Jones.

As is standard, Jones joined SFS on a two-year probationary period, after which she would be eligible for tenure. She knew that as an African American woman, the standard of excellence placed on her would exceed that of her white, male peers. She committed herself fully to the position. At the same time, she refused the additional labor of performing gratitude and subservience to her colleagues. If Jones’s family holiday greeting reflects exuberance and excitement for her family’s beautiful new adventure, the card she gave to her fellow SFS players centered her blackness. This interrupted the supposed racelessness of the orchestral space. As she recalls, her colleagues perceived the card to be political and intrusive: 

“When I got into the San Francisco Symphony that first year, people were giving out cards and everything. And I looked at all these cards and all these white angels and I thought, ‘White angels? Some angels must be Black.’ And that was when I discovered Marcus bookstore in San Francisco.[9]… Anyhow, so I got these cards with all these white angels. And I thought, ‘Why should I give my kids any cards with white angels? Well, if my kids can have white angels, their kids can have Black angels.’ So I went to Marcus and they had some Black Madonnas and I made some cards and I gave ‘em out. Well, you know, they protested that I’m imposing my beliefs on them. ‘Well, you’re imposing yours on me. Why do my children have to see white angels and your kids can’t see Black angels?’ Well, that may have been the downfall of myself – why I didn’t do too well with the orchestra. I should have just gone in and kept my mouth shut and not rocked the boat or made waves. And I guess this is why they had to get rid of me.”

“They had to get rid of me” — the tenure committee, SFS, the classical music establishment, and the white status quo most broadly. Decades later, Jones still chokes up discussing her tenure case, a trauma that loops in her mind, litigated repetitively to the same result.

In 1974, SFS evaluated eight players for tenure. Only the two non-white players, Jones and Japanese bassoonist Ryohei Nakagawa, received negative votes from the Player’s committee (the 7-person committee that votes on tenure). For Jones, losing her battle for tenure at SFS marked the symbolic end to her music career, extinguishing years of striving and ambition. Her years with San Francisco Opera Orchestra, where she earned tenure and worked for over 25 years, barely merits any mention in her memoir. This should not suggest that Jones does not have fond memories of her years with San Francisco Opera. By all accounts, she held some epic parties and made lifelong friends. But pit orchestras, tucked in the shadows under the stage (with the percussion section far back in its recesses) do not provide a visible platform. The singers on stage occupy the spotlight, while the orchestral musicians remain largely unseen, behind a perpetual screen of sorts. This may speak to why Jones found the most steady work in pit orchestras, where the concealment of her body allowed for some greater measure of inclusion. Prior to SF Opera, she played with New York City Opera for 12 years, where she was the first African American and female musician hired by that orchestra. As a musician quoted in a 1976 Los Angeles Times article about the absence of African Americans in symphony orchestras suggested, talented Black musicians, knowing how unwelcome they are in symphony orchestras, gravitate elsewhere, including “pit orchestras where our color won’t disturb sensitive souls who can’t believe that Afro-Americans can understand the great music of Western civilization.”[10]

What does inclusion look, feel, and sound like when the erasure of one’s body is part of the precondition for considering one’s admittance? In its most literal form, screened auditions distill music making to its aural element, redacting the body to create a blank slate for listening. Racial fantasies, projections, and stereotypes have long filled the gap between a musician’s body and their performance, a process that can unwittingly serve as self-fulfilling prophecies of racialized beliefs.[11] The screen interrupts these imaginations, anonymizing the body through a large black apparatus. But the screen is a mechanism designed to engender impartiality. It functions in the service of meritocracy rather than a commitment to diversity or racial justice.[12] And meritocracy’s relentless focus on individual effort and ability does little to address the systemic racism, discrimination, and history of segregation that sustain inequities in the orchestral field.

Popular media often extols the use of screens in orchestra auditions, pointing to the near 50% increase in the representation of women since its implementation and encouraging other industries to use similar anonymizing strategies to tackle implicit bias in hiring.[13] What is clear, however, is that the use of screens has done little to increase the representation of African American musicians in U.S. symphony orchestras. And in Jones’s case, the screen did little to change the conditions that precipitated its existence in the first place. As a Black woman occupying a principal position in SFS, an orchestra with no other African Americans and only 22 women (out of approximately 100 players) when she joined in 1972, Jones was, as she puts it: “treading on the toes of the white male, and that was really a bit too much for most of these people to deal with.”[14] 

Jones’s negative tenure vote and lawsuit made national news, spurred local protests, a letter writing campaign, and threats to withhold the symphony’s funding. She filed a lawsuit charging racial and sexual discrimination, which she dropped after receiving an additional provisional year and vote on tenure.[15] But when the second tenure vote came back negative, Jones filed another lawsuit. In 1977, her tenure battle ended when the courts dismissed the case.

The details of Jones’s tenure case involve skirmishes of power between multiple parties — unions, orchestral players, management, and Ozawa. Rather than relitigate the specific merits of the case, I focus, instead, on what the case reveals about the institutional history and culture of symphony orchestras. Part of the difficulty Jones encountered proving racism stemmed from long standing beliefs separating politics from the distilled performance of “the music itself” and understandings of the whiteness of symphony orchestras as incidental rather than instrumental to the assessment of musical excellence.

Jones spent decades repeatedly proving her ability and musical worth. When she learned of the shockingly low scores she received for her tenure, they felt like a personal assault to diminish and demean. For her first tenure vote, she received 177 out of a possible 700 points. Two tenure committee members gave her an insulting score of 1 out of 100. The vote the following year came in even lower. As a point of contrast, in the final round of Jones’s audition for SFS, she received 920 points out of a possible 1000 from the audition committee.[16]

In my interviews, Jones’s speech uncharacteristically sputters and pauses as she recalls the reasons used to justify her tenure denial:

“How all of a sudden could I be so bad? And these guys said…well, I…well, what was the thing with the trumpet player?…well, there was…he made a statement…What was?…there’s something silly they said I didn’t do…I try to block them out. That’s why I have difficulties remembering. … Gosh. Well. I mean it boils down to the fact, so I have to be perfect but nobody else around me is perfect?”

For Jones, the moving target of perfection placed on her felt unbearable. The criticism levied about her playing proved equally damaging to her psyche. She considered leaving the profession for good. “I’m a perfectionist,” she continues to muse, “so I will still think, was it my playing?” But perfection, while aspirational, is both elusive and subjective. This is particularly true for musicians playing at her high level of musicianship.

In the first public statement issued by the SFS Players’ Committee (the tenure committee) in September 1974 about Jones’s tenure denial, it concluded by referencing the hallowed space occupied by a symphony orchestra:

“A symphony orchestra is a rare and special thing. It is the unique product of our Western Musical Tradition, a tradition centuries old. It is made up of members who each embody decades of training and experience. It is not a work-force or an assembly line. It is a living thing, a musical and social organism. And like any living thing, it should be treated with care for its health, and respect for its accomplishments.”[17]

This language is, on the one hand, unsurprising in its description of a symphony orchestra as a “special thing” for a select few. Unlike other workplaces, a symphony orchestra exceeded such mundanities of labor and production. It represented both an enduring testament to centuries of European tradition and a delicately balanced living organism, whose inheritors stewarded its continued maintenance and care. On the other hand, such evocations of a symphony orchestra contained a clear message. Like the purported racelessness of meritocracy and the symphony orchestra, the players’ invocation of our “Western Musical Tradition” functioned as a proxy for whiteness and its continued preservation.

Would the outcome of Jones’s tenure vote have differed if she had muted her “zippy, boat-rocking personality,” acquiesced to claiming less space, and accommodated more to the status quo?[18] As she wrote in a letter to the supporters of her tenure: “Someone I trust confided to me that I was disliked because I didn’t conform to the subservient image of a black woman — and had stood up for my rights instead, with pride, and not with the soft humility some considered more befitting.” Rather than subservience, Jones embodied its mirror in her defiance and anger. At the same time, Nakagawa, by all accounts a “soft-spoken” and mild-mannered principal bassoonist who accepted his negative tenure vote without challenge, did not fare any better.[19] It is unsurprising how closely descriptions attached to Jones and Nakagawa’s outward personalities hew to the racial and gendered scripts placed on Asians and African Americans. In the end, the similar fates of Nagakawa and Jones speak to the bind that musicians of color face gaining inclusion and holding leadership positions in spaces of white supremacy. 

When Jones discusses racism, she often adds that white people do not understand what racism entails, viewing it as a matter of etiquette and hurtful comments rather than a system of acquiring and maintaining power. She, like Nakagawa, was a principal player — a first chair position, which represents a leadership position in the orchestra. This translated into greater pay and power than other section players in their workplace, not a special living thing. Their presence disturbed the “natural” order of the organism:

“I was a principal player, the person who is the head of a section and always paid above the rest of the section, first ever for an African American. I was experienced and I was competent; conductors and audiences acknowledged that. … This situation was compounded by the fact that the orchestra had a conductor and another principal player, who like me, were not of European origin. Having these three non-Europeans in the orchestra in leading positions was a little more than their egos could handle.”[20]

In Jones’s view, their collective visibility in positions of power precipitated their downfall. Nakagawa returned to Japan. And while Ozawa did not attribute his resignation from SFS in 1975 to the tenure disputes, he left as well, continuing his post with Boston Symphony Orchestra full time.

It is impossible to know how the fragility of white egos might have entered into the Players’ Committee’s vote on tenure. But an 8-page, typed document in the SFS archives, written in 1992 by a member of Jones’s second tenure committee, provides some clues. It is unclear why or to whom this treatise titled “the Elayne Jones Affair” was written. When I inquired, the archivist at SFS could offer no additional details. But as a defense of the symphony and the committee’s commitment to objectivity, it contains a litany of highly charged personal claims. The accusations levied against Jones included: the “distorted view” she had of her music ability and her tendency to blame career disappointments on racism (or sexism) rather than her own shortcomings; insinuations that affairs with music critics led to all of her positive newspaper reviews; and the multiple “cards in her deck” that Jones held due to her race and gender, effectively rendering SFS “impotent.” The document closes with the musician’s continued discomfort encountering Jones periodically in his everyday life — on the tennis courts in San Francisco and as a colleague at music festivals. As he writes: “she is the only person who has ever publicly charged me with being racist or sexist.” In the end, being accused of racism and sexism proved this musician’s most enduring slight.

Conclusion

For Jones, at 93, mulling over the events in her life can become a form of rehearsal. In our conversations, certain moments loop and rewind, an attempt to move past the racialized trauma of her tenure denial, only to return again to well-tread tales: playing with conductor Leopold Stokowski; her political advocacy; encountering segregation in St. Louis and Chicago; winning the position with SFS. The record skips and repeats, landing again and again on her tenure denial where the narrative inevitably stops. As she wrote to the supporters of her tenure battle: “I don’t know why I’ve worked so hard to climb up so far, because the long fall is so painful.”

In a roundtable discussion centered on the experiences of African Americans in classical music, Anthony McGill, principal clarinetist with the New York Philharmonic (and the only African American musician currently in that orchestra), eschewed the “exceptional talent” narrative for what it elides. Refusing to allow his own success story to serve as an acquittal of the field, he asserted: “I think it’s actually very important to highlight everybody else …[those] who are blocked from having that path. It’s important to look from that perspective as well.”[21]

How do we highlight this perspective in the institutional history of symphony orchestras? This is an archive of absence and of what could have been — aspirations thwarted, talents obstructed, careers re-routed, and spirits incalculably destroyed. But it is also, as Jones’s life shows us, an archive of defiance and refusal. Her life offers new insights into the past — a way to rethink the history and culture of American symphony orchestras through her visionary perspective. Tina Campt speaks of black feminist futurity as “a performance of a future that hasn’t yet happened but must.”[22] Making music and occupying space in sites where African American women have and continue to be excluded, Jones’ life compels us to grapple with the segregated histories that structure how we listen and see. “If my life matters,” Jones told me recently, “it’s because I have to make you think it matters.” Here I offer space to understand how her life matters for what it allows us to envision — new worlds and modes of imagining the orchestral field, music making, and the structures of power that sustain them.


[1] Letter to Verne Sellin from Elayne Jones. San Francisco Symphony archives

[2] For an incisive critique of the ableism contained in the term “blind” auditions, see William Cheng, Loving Music Till it Hurts (New York: Oxford University Press, 2020), 63-64.

[3] Unless otherwise cited, all quotes from Jones come from interviews and conversations with the author.

[4] See, for example, Michael Andor Brodeur, “That sound you’re hearing is the classical music’s long overdue reckoning with racism,” Washington Post, July 16, 2020, Zachary Woolfe and Joshua Barone (interviewers), “Black Artists on How to Change Classical Music,” New York Times, July 16, 2020, James Bennett, “On Taking Lip [Service], WQXR blog, June 2, 2020, Aaron Flagg, Anti-Black Discrimination in American Orchestras, Symphony, Summer 2020.

[5] This statistic has remained relatively constant. A survey conducted in 1974 revealed African Americans to make up less than 1% of orchestras in the U.S. “Symphony Orchestras: A Bad Scene,” The Crisis, January 1975. In a 2014 survey by the League of American Orchestras, the figure had risen to just 1.8%.

[6] Rothe, Music for a City, Music for the World, 156-57.

[7] Heuwell Tircuit, “Show of Symphony Pride,” San Francisco Chronicle, July 6, 1972.

[8] Cheng, Loving Music Till it Hurts, 104.

[9] Marcus Books (named after Marcus Garvey), currently located in Oakland, is the oldest independent Black bookstore in the United States.

[10] Dorothy Samachson, “Orchestras in the U.S. — Where are the Blacks?” Los Angeles Times, October 10, 1976.

[11] For more on racialized listening practices see, for example, Nina Sun Eidsheim, The Race of Sound (Durham: Duke UP, 2019); Jennifer Lynn Stoever, The Sonic Color Line (New York: NYU Press, 2016); Kira Thurman, “Performing Lieder, Hearing Race,” Journal of the American Musicological Society, vol. 72, Number 3, 825-865; Grace Wang, Soundtracks of Asian America (Durham: Duke UP, 2015).

[12] See Anthony Tommasini, “To Make Orchestras More Diverse, End Blind Auditions,” New York Times, July 16, 2020 and Cheng’s discussion of anonymous audition processes and meritocracy in Loving Music Till It Hurts, 63-104.

[13] Malcolm Gladwell writing on “blind auditions” in Blink, New York: Little, Brown and Company, 2005 helped popularize the findings of the widely-cited article by Claudia Goldin and Cecilia Rouse, “Orchestrating Impartiality: The Impact of ‘Blind’ Auditions on Female Musicians,” American Economic Review, vol. 90, no. 4, September 2000, 715-741.

[14] Charles Burrell, a double bassist, the first African American musician hired by SFS, performed with the orchestra from 1959-64. Jones’s lawyer claimed that Burrell was forced out, a narrative that differs from the official history of SFS, which recounts how earthquakes in the region prompted the bassist to return to more stable ground in Colorado. Larry Rothe, Music for a City, Music for the World, San Francisco: Chronicle Books, 2011, 134-35.

[15] The extent to which the courts did not consider race and gender discrimation as intersectional created further obstacles for Jones. In his sworn affidavit, Jerry Spain, President of Musician’s Union Local 6 offered the statistics on gender at SFS, noting that the orchestra employed more women musicians than any other major symphony. This fact was used to buttress the orchestra’s claim that it did not discriminate on the basis of sex. This defense recalls Kimberle Crenshaw’s argument that separating gender and race discrimination leaves no place for Black women. “Demarginalizing the Intersection of Race and Sex: A Black Feminist Critique of Antidiscrimination Doctrine, Feminist Theory, and Antiracist Politics.” University of Chicago Legal Forum (1989): 139-67

[16] For tenure during this period at SFS, a Players Committee (composed of 7 musicians) and the music director award points, with each side able to override or deny tenure. Musicians needed to receive a total of 351 votes to have the conductor’s vote added to their tally. As such, the low scores effectively sidelined Ozawa. The members of the audition and tenure committee were different, so do not represent a direct contrast (although the tenure committee is supposed to represent the collective view of the orchestra).

[17] Report to the 1974 ICSOM Convention from the San Francisco Symphony Players’ Committee. San Francisco Symphony archives.

[18] Quote from Arthur Bloomfield, “The Story That Won’t Go Away,” San Francisco Examiner, Sept 2, 1975.

[19] The narrative around Nakagawa’s tenure denial in the press and within SFS also suggested (falsely) that he was Ozawa’s former roommate in Japan and enjoyed a closeness to the conductor given their shared ethnicity. This narrative implied cronyism in his hiring. See Paul Hertelendy, “Jones: ‘How Good Do You Have To Be?’”Oakland Tribune, August 31, 1975. Although Nakagawa did not challenge his tenure denial, following Jones’s lawsuit he, too, was given a second vote.

[20] Jones, Little Lady wIth a Big Drum, 303.

[21]Learning to Listen” June 10, 2020.

[22] Tina Campt, Listening to Images (Durham: Duke UP, 2017), 17.

Grace Wang is Associate Professor of American Studies at the University of California, Davis. She is the author of Soundtracks of Asian America: Navigating Race through Musical Performance (Duke UP) and is currently collaborating with filmmaker Julie Wyman on a documentary film about Elayne Jones’s life in politics and music.

Excerpts

Chicana-Chicano Agonists

Frank P. Barajas 

Raised in a community culture of collective resistance, youth of the Chicana- Chicano generation—ranging from children old enough to recall earlier events to men and women in their early to mid-twenties—observed, if not participated in, the insurgencies of outfits such as the Community Service Organization (cso), Farm Worker Organizing Project, and United Farm Workers throughout the 1960s to mid-1970. Such groups role-modeled struggle, often militant, largely to realize just work conditions. With this community memory Chicana-Chicano agonists made their presence known on school and college campuses as news spread of student walkouts and protests throughout the Southwest. They also heeded the direct actions of peers in organizations such as the Students for a Democratic Society (sds) and the Black Student Union (bsu). This compelled many of the Chicana-Chicano generation to ask, “What are we doing?” As a result they embarked upon gutsy actions of their own. This chapter argues, in this regard, that the Chicana-Chicano generation of Ventura County exerted its collective agency on campuses and in their communities to mobilize campaigns of self-determination with a moxie all their own.

The World of the Chicana-Chicano Generation

Like their Mexican American generation predecessors, many Chicanas-Chicanos dreaded school, where in their early lives they suffered or witnessed violent punishments, both physical and psychological, at the hands of callous educators for using the language of their Spanish-speaking parents—an experience that destroyed their ability to excel. Such was the case for Yvonne De Los Santos from the unincorporated Ventura County community of Saticoy. Injured by such assaults, and the associated slings of poverty, the self-esteem of Del Los Santos and many of her peers deteriorated with each school day.1 The school system instantiated the inferiority of ethnic Mexicans with the curricular erasure of their historical presence in the nation as well as by systematically tracking them away from pathways to college to vocational shop classes for boys and home economics for girls.2

While ethnic Mexicans lived in rural citrus communities such as Fillmore, Rancho Sespe, and Saticoy, their experience also encompassed the suburban and urban. At Ventura County’s northeastern edge, the metropolis of Los Angeles was less than an hour’s drive away. Families traveled regularly to the big city and were visited by kin from places such as Boyle Heights, Compton, and the San Fernando Valley. So not all Ventura County Chicanas-Chicanos were yokels, at least completely. Having a rurban consciousness of the town and city, many of the Chicana-Chicano generation understood the spectrum of material deprivations of working-class people, having often accompanied family and neighbors to harvest chabacanos (apricots), nueces (walnuts), fresas (strawberries), ciruelas (plums), and other specialty crops up and down the state. While on the migrant circuit, they lived in varied accommodations from the standard to the inhumane—for example, cashiered Quonset huts, barns, stables, and leaky tents.3

Ironically, the poverty of ethnic Mexican families was underscored when family breadwinners—both men and women—obtained often unionized or public-sector jobs that provided not only adequate wages to cover food, shelter, and clothing but also unemployment, pension, health, and vacation benefits. When these heads of household were so employed, Chicana-Chicano children experienced the smell and feel of new clothes, shoes, and toys. Such work also made possible enrichment opportunities in organized sports and the performing arts. Indeed, De Los Santos recalled how her family enjoyed such comforts when her father had the good fortune to obtain a job as a unionized construction worker. As a result of the incremental elevation in their quality of life, Yvonne’s mother made sure her husband stayed current in his union dues, even when no work was to be had.4

Elders relayed to youth historical acts of collective resistance as children eavesdropped on the conversation of their parents and relatives. Unionism that organized all people provided ethnic Mexicans and their families with a system of recourse to challenge arbitrary dismissals, wage theft, and oppressive work conditions, as well as to fight for the prized benefits of health and unemployment insurance, vacation, and retirement. From these stories Chicanas-Chicanos internalized a sense of group dignity.5 Other families who may not have been directly connected to organized labor were involved in service organizations such as the Unión Patriótica Benéfica Mexicana Independiente, Las Guardianes de la Colonia, and CSO. Therefore, when Chicana and Chicano youth refused to tolerate injustice, they consciously or unconsciously referenced examples of the collective action of prior generations.6

Storms Brewing

The righteous indignation of Chicana-Chicano student clubs in Ventura County—which ranged and fluctuated in membership from ten to seventy students—stemmed from the overall subordination of the ethnic Mexican community. The diversity of club labels signified the pursuit of students to define themselves not only in terms of their ethnic identity but also in relation to their citizenship and political temperament. For example, before the creation of El Plan de Santa Barbara in the spring of 1969, many ethnic Mexican student clubs in Southern California named themselves, commensurate with the mentalité of the generation before them, United Mexican American Students (UMAS), as was the case at Oxnard High School. At Ventura High a similar club was labeled La Alianza Latino Mexicano (the Latino Mexican Alliance), which alluded to the organization’s pan-Latino outreach, with the simultaneous recognition that the ethnic Mexican student population was its core constituency. In the northeast plain of Oxnard, Rio Mesa High School formed the Mexican American Youth Organization (MAYO) while Moorpark High formed the Mexican American Youth Club. Many group’s cognomens fluctuated as members weighed and debated labels based on their mission, member disposition, and the way they wished to be understood by people from the outside.7

No matter how student clubs of Ventura County identified themselves (although many ultimately adopted the MEChA epithet, the acronym for El Movimiento Estudiantil Chicano de Aztlán), they shared a commitment to support peers and those that followed them in the K–12 system. The evangelic promotion of education by Chicana-Chicano student clubs signifies the failure, if not the refusal, of educators to communicate high academic expectations for ethnic Mexican students or to support their aspirations. Chicana-Chicano youth also questioned their societal status as they defined their identity. To counter racist assumptions, Chicana-Chicano students embraced and publicly promoted their Mexican heritage as an iteration of Americanism. To bridge intraethnic differences, some clubs sought to support teachers with monolingual Spanish-speaking students.8

Indeed, the right to express themselves in the language of their community unimpeded served as a means by which Chicana-Chicano students asserted their amour propre, given that educators for decades prohibited ethnic Mexican students from speaking Spanish. This proscription entailed violence, to use Chicano studies professor Roberto D. Hernández’s definition, that entailed being forced to wear dunce hats as well as having their hands struck with rulers and their mouths washed out with soap.9 To resist these assaults, which were grounded in settler colonial notions of white supremacy, in the spring semester of 1969 UMAS at Channel Islands High School in South Oxnard, with a membership of about seventy-five, drafted a constitution that restricted, irrespective of race and ethnicity, its membership to Spanish-speaking students. This bold attempt to centralize their ethnic Mexican heritage, however, disqualified the club from school recognition, as the state’s education code mandated that clubs be open to all students. This compelled a faction of UMAS students and their supporters totaling about forty to picket the campus administration building in February 1969. UMAS protesters also sought redress in relation to instructor racism and the lack of ethnic Mexican teachers.10

In 1970 Oxnard High School (OHS) students protested racist practices on the part of teachers and the absence of support services. Part of the conflict involved the refusal of students to accept advisors from within the district, since they found the faculty and staff unsympathetic to their interests. To quell the controversy, officials of the Oxnard Union High School District (OUHSD) reached out to the Association of Mexican American Educators (AMAE) to appoint a volunteer advisor from the community. The issue of racism in the schools on the Oxnard Plain reemerged the next year when chairman of the Oxnard Community Relations Commission Wallace Taylor reported that one OUHSD teacher allegedly had been asked to resign or face dismissal for calling students “n—” and “dumb Mexicans.” Fellow commissioner William Terry announced that this was an example of the hostility that students faced. Terry also referenced how campuses restricted UMAS from becoming an official club and suspended students who wore such buttons.11

On September 16, 1971, Mexican Independence Day, OHS Mechistas joined farmworkers of the United Farm Workers Organizing Committee (UFWOC) in protesting working conditions. Familiar with the staff at the UFW Office in La Colonia off Cooper Road, MECha president Peter Martínez suggested that the protestors march around the school site. When they did so, he and other Mechistas yelled to their peers on campus and in class, “Walk out! Walk out! Walk out!” And many did. High school administrators subsequently punished 40 student participants with detentions and suspensions. The next week half of OHS’s 2,100 students blew out. As this took place, Black and brown students fought white peers. After the initial outbreak, other brawls flared later that afternoon. Pent-up frustrations united those who walked out. The situation then escalated to the point that campus officials shut down the school at 1 p.m. on Thursday, September 23. Later that evening a free-for-all erupted at a football game between Channel Islands High School and Simi High. Consistent with other instances of social unrest that involved disaffection with white-dominated institutions, Principal Clifford Powell told the press that he was clueless as to the cause of the uprising.12

In early October 1971 a contingent of Black and Chicana-Chicano students of La Colonia barrio formed the Minority Affairs Committee (MAC) to address grievances of racism in the schools and the lack of teachers, staff, and administrators who were reflective of their community. Their demands also included the institution of Black and Chicano studies in the curriculum. mac met at the Juanita Elementary and protested the establishment of a district committee of students, teachers, district administrators, and community representatives that did not include them. They viewed the involvement of Oxnard City councilperson Salvatore Sánchez as an accommodationist who undermined the interests of minority constituents.13 Sánchez responded to mac’s opposition to his inclusion on the OUHSD committee by stating, “I consider it an honor to be considered a threat to the real enemies of our community I feel these people are not only hurting the image of the Mexican-American but are bringing disgrace to those who are truly trying to become a part of our mainstream.”14

A month after the conflicts at ohs, the campus administration office was firebombed on the evening of Saturday, October 30, 1971. The persons responsible marked the walls with “Racist Pigs” and “We Declar [sic] this a racist school,” initialed with “CLF,” assumed to stand for the Chicano Liberation Front.15 On November 2, 1971, the Oxnard Press-Courier published an editorial on the arson attack. In a tone of condescension, the newspaper faulted district officials for the adoption of a “rap-session approach” to address tension within its schools.16 In this dialogue, however, participants aired their grievances on topics of racist teachers throughout the district, arbitrary and unequal discipline meted out to minority students in comparison to their white counterparts, and the lack of minority faculty and administrators.17

Go to School, Stay in School

Chicana-Chicano students, however, did not limit their agency solely to the redress of grievances. In 1973 Channel Islands High’s MEChA—composed of 140 members, the largest campus club in the district—sponsored service activities in the community such as a clothing drive for the needy in Mexico’s border city of Tijuana. It also held car washes for the recreation center of La Colonia. To raise additional funds, the organization sponsored a semiformal tardeada and jamaica (a late afternoon social and charity sale, respectively). To fill the vacuum of a culturally relevant curriculum, the club produced a literary magazine titled Nuestra Raza that advanced ethnic pride by way of the arts.18 In the course of these activities, MEChA organizations networked with each other across the district. That same year MEChA at Rio Mesa High School launched its third annual tutorial program at El Rio Elementary and sponsored an annual Christmas food drive.19

Many students of these high schools graduated to continue their activism at universities and community colleges in and out of Southern California. In numerous instances the pipeline of barrio students to academic institutions involved an advance guard of students. Once on campus a consciousness of ethnic Mexican scarcity hit them hard. Indeed, when Diana Borrego Martínez of Santa Paula spotted Chicana-Chicano students at San Fernando Valley State College (sfvsc) in the late 1960s, she waited in front of their classes to introduce herself. In other instances, first-generation college students from the barrios and colonias of Southern California as well as afar congressed at de facto sanctuary spaces near student unions and cafeterias. Once Chicana- Chicano students discovered each other, often via restorative organizations such as UMAS and MEChA, they embarked upon recruitment drives in their home communities to cajole—if not shanghai—friends into college; such was their mission. Yvonne De Los Santos credited students active in Moorpark College’s MEChA for her matriculation. Once on campus, De Los Santos enjoyed the organization’s esprit de corps. Alienated, even traumatized, by the K–12 educational system, MEChA and Chicano studies courses cultivated a rich awareness of the worlds from which they came. Prior to the widespread institutionalization of Educational Opportunity Programs in California col- leges and universities, such organizations also served as the support structure for the recruitment, retention, transfer, and graduation of students.20

As a Vietnam veteran wounded by a land mine while on patrol, Jess Gutiérrez returned to Oxnard and found employment as a salesperson at a local car dealership. High school classmate and fellow veteran Armando López visited him one day at his work to recruit him for Moorpark College. At first Gutiérrez rebuffed the idea: he was older than most college students and had a family to support. But López was persistent, and he eventually convinced Gutiérrez to enroll after explaining that he could receive more income as a full-time student with his veteran benefits and other financial aid than at his current job.21

A snowball effect of matriculation resulted. Once politicized, Chicana- Chicano college students recruited friends in and out of Ventura County. Many that enrolled did not survive academically for a number of reasons: some (especially men) due to a severe lack of preparation, confidence, finances, and the inability to envision the rewards of a higher education. However, success stories did emerge. The first wave of Chicana-Chicano students ultimately turned the corner scholastically with the committed support of not only their peers but also empathetic faculty and staff mentors from all backgrounds who were sensitive to the debilitating harm of interlocked white supremacist systems of education, labor, and politics. Students considered by many to be academic throwaways went on to become public and private sector professionals, which afforded them and their progeny improved life chances in terms of health, superannuation, the accumulation of assets, and the life of the mind.22

The Community College Connection

In the fall of 1967, Moorpark College opened its doors. To promote enrollment, officials of the Ventura County Community College District contracted a vendor to transport students from the communities of Fillmore, Piru, Santa Paula, and Oxnard to both Moorpark College and Ventura College. Chicana- Chicano students from Oxnard nicknamed the service the “barrio bus.” A cohort of youthful and politically liberal faculty at the new campus—many of them recent graduates of the University of California, Los Angeles (ucla), to the south, and the University of California, Santa Barbara (ucsb), to the north—embraced all students, especially the historically underserved.23 Once out of their provincial environs, Chicana-Chicano community college students interacted to an extended degree with peers from a spectrum of ethnicities and economic backgrounds.

By the start of 1968, Oxnard Brown Berets López and Roberto Soria, the brother of Oxnard school desegregation advocate and community leader John Soria and father of the principal plaintiffs of the desegregation case, engaged peers in the formation of culturally relevant programs at Moorpark College. The Berets and Mechistas invited ucsb professor of economics and Democratic candidate for Congress Stanley Sheinbaum to speak on campus.24 In October 1968 the Berets attended a conference on poverty hosted at Ventura College. López, as the group’s prime minister of education, organized a peace- ful demonstration to protest neglect on the part of county social workers in relation to the needs of ethnic Mexican communities. As López spoke, fellow Brown Berets held placards that read “Less Talk and More Action” and “Viva la Raza.” The Berets also presented a slideshow complemented by music and narration that detailed the Chicano perspective on poverty in Ventura County.25 As one of its main goals, high school and college MEChA organizations promoted as well as reinforced a sense of ethnic Mexican pride to extirpate any stigma internalized in some of its members by way of settler colonial perspectives in schools and a popular culture that not only erased the historical presence of ethnic Mexicans but also portrayed them in the present as outsiders, and often criminal at that. The provenance of self-negation, moreover, stemmed from decades of institutionalized racism and violence. Mechistas bolstered the promotion of amour propre with community-building programs in and outside their campuses. Toward this objective, Ventura County MEChAs embarked upon tutorial programs to serve grade school students. In an interview with Moorpark College’s student newspaper, the Raiders Reporter, López described MEChA’s goal as “to develop the child’s self-concept and identity.” Soria, in turn, asserted the importance of bilingual education to maintain and reinstate pride in young ethnic Mexican students.26

Raising consciousness of the challenges historically faced by ethnic Mexican communities served as another goal of MEChAs in Ventura County.27 In November 1969 the Raiders Reporter spotlighted the student activism of Soria, who had suffered the loss of a brother in the Vietnam War, experienced economic deprivations associated with migrant life, and who dropped out of high school to work in the fields to support his family.28 Soria’s life lessons, coupled with his activism, ballasted a constructive indignation and motivation to challenge societal injustices. Given that Moorpark College was a startup campus that supported curricular innovation with few-to-no faculty with academic training in the Mexican American experience, the administration afforded Soria, López, and other students opportunities to formally teach classes and deliver lectures to their peers on the history, culture, and politics of the Chicano community.29

Be One, Bring More than One

El Plan de Santa Barbara (drafted by students, faculty, and staff from different institutions at ucsb in the spring of 1969) served as the manifesto for Chicanas- Chicanos of all ages, as it delineated the goals and objectives of MEChA

. A central tenet of El Plan guided all in academe with the advancement of education in the community. Ventura County Chicanas-Chicanos actualized this mandate by visits to elementary schools to volunteer their time as tutors. For example, Oxnard Brown Berets Francisco DeLeon, Roberto Flores, Andrés and Fermín Herrera, and Armando López visited the elementary schools of Juanita and Ramona, in the heart of La Colonia, to conduct culturally relevant puppet shows. The Brown Berets of Oxnard also implemented a tutorial program in the district. The Berets then worked with the administration of Moorpark College to establish a program of recruitment and support services. In an era of a white, middle class–focused curriculum that featured “Janet and Mark” and “Dick and Jane” narratives, the Berets created curricula that spotlighted the ethnic Mexican experience.30

Even before the creation of El Plan in 1969, Chicana-Chicano students at the colleges and universities of Moorpark and Ventura, sfvsc, ucla, and ucsb also went back to the barrios and colonias from which they came to encourage family and friends to become activists and obtain a higher education—not only for the sake of their own edification and empowerment, but that of their communities. In February 1969 López, while a student at Moorpark College, spoke at Rio Mesa High School to share with students the goals and objec- tives of the Brown Berets, an agenda that consisted of social change by way of the promotion of Mexican American studies, the establishment of a citizens’ police review board, and the promotion of better communication with the community. In relation to direct action, López stressed the organization’s commitment to a nonviolent philosophy.31

Later in November 1969, ucsb Mechistas Daniel Castro, Castulo de la Rocha, and Javier Escobar drove forty-five minutes south to meet with the members of Ventura College MEChA to discuss, among other challenges, the state’s high school dropout rate among ethnic Mexicans. The three guest speakers also noted that of those that managed to graduate, many were academically ill prepared, particularly in comparison to their Black and white counterparts. The next year Tim Vásquez of UCSB’s MEChA visited Ventura College to recruit Mechistas to join him in Coachella Valley to assist the United Farm Workers in stopping scabs from picking grapes during the strike. Vásquez also urged the Mechistas to participate in the moratorium march to be conducted in Santa Barbara that May.32

To motivate Chicana-Chicano students to stay in school and ultimately obtain degrees from the systems of the California State College and the Uni- versity of California, Flores, as an Oxnard Brown Beret and ucla premed student, worked with a newly established Educational Opportunity Program (eop) to create in 1968 a nonprofit work-study project titled the University Study Center (usc). Based in Oxnard, usc placed approximately thirty high school and college students within public agencies. This had two functions: first, to provide students with incomes while they obtained on-the-job training in professional environs, and, second, to introduce students to white-collar careers that required college degrees. In some cases Chicana-Chicano activists virtually ushered family and friends off barrio streets to enroll them in such programs. eop slots had opened up at universities and colleges as a result of protests such as the walkouts in East Los Angeles that year; it was now incumbent upon activists who demanded this inclusion to fill them. A number of the individuals who had no plans of going to college due to a multitude of challenges (e.g., school tracking, preparation, maturity, economics, family obligations) failed to succeed, while others initially struggled to survive and then flourished as they created social networks of support on campus.33

But the USC project was not just for the college-bound. It also served professionals who sought to enhance cultural competencies to effectively serve the ethnic Mexican community. For example, UCSB offered an extension course in the summer of 1969 titled Mexican-American: Past, Present, and Future, conducted at the Juanita school by Brown Beret members Fermín Herrera, Flores, and López along with Professor Rodolfo F. Acuña of SFVSC.34

A Space for Chicano Studies

In April 1969 MEChA, with a membership of approximately forty, met with Moorpark College president John Collins to propose the implementation of a curriculum relevant to the experience of ethnic Mexicans as well as recruit- ing and admitting more students from their communities. To retain students MEChA called for the college’s employment of ethnic Mexican faculty, staff, and administrators. Students would endorse the appointment of candidates and recommend their termination if they failed to serve students.35 President Collins supported MEChA’s proposals. His actions contrasted with that of campus presidents at Ventura College, California State College Los Angeles, California State College at Fresno, and San Diego State College who rejected Chicano studies. Many campus presidents labeled this new field as ideologically particular in scope as opposed to universal and therefore not a legitimate academic course of study, due to its perceived Marxist radical politics.36

Nonetheless, in the fall of 1969, Moorpark College recruited its first director of the Mexican American Studies (MAS) Program: Amado Reynoso, who held degrees from San Diego State and San Francisco State.37 Moorpark College Mechistas and Reynoso, as their faculty advisor, wasted no time making its mark within El Movimiento in Southern California. In November 1969 they organized a one-day conference of workshops and lectures. People from other community colleges, private and public four-year institutions, and high schools attended. In addition to establishing a support network, conference organizers strategized how to cultivate Mexican American studies while increasing the matriculation and graduation of ethnic Mexicans in high schools and colleges.38 President Collins, with his newly appointed MAS director, opened the program with a welcome to attendees and an introduction of the conference schedule. Jesus Chavarria of UCSB and Dr. Acuña spoke on the relevancy of Chicano studies. Raquel Montenegro of the Association of Bilingual Educators made an address on “The Broken Promises of the American Dream.” After the first round of speeches, workshops addressed topics regarding the recruitment of ethnic Mexican staff and students, financial aid, support services, and curriculum development.39

The event, however, did not escape controversy. Campus food services erred in their catering by including table grapes at a time when César Chávez’s National Farm Workers Union imposed an international boycott of the product to pressure growers for a collective bargaining agreement. Students from Los Angeles rebuked Moorpark Mechistas for the gaffe. Later, East Los Angeles College MEChA wrote a scathing open letter to President Collins expressing the offense taken. The letter pointed to the failure of “white society” to join the effort of pro- test of the time. Instead, the letter continued, “white society” issued an insult.40

Despite the table grape goof, Moorpark College MEChA pulled off a successful conference, and the succor that President Collins extended did not go unrecognized. In April 1970 the Mexican American Political Association (MAPA) of Ventura County saluted President Collins at its annual awards banquet for doing more for the Chicano than anyone else. This was a well- deserved honor, as President Collins, judging from the reports in the Raider Reporter, consistently supported the advancement of Mexican American studies and the hiring of faculty and staff of Mexican origin and was sensitive to the needs of students.41

¡Despierta! (Wake Up!)

The recognition of a gracious campus president such as Collins was of particular import, as Chicana-Chicano students did not enjoy such help at the sister campus of Ventura College with Ray E. Loehr as president. Moreover, the direct actions of Black students awakened many students unaware of, or initially unconcerned with, broader national currents of protests. At the Area IX Junior College Student Association Conference in October 1968, for example, Black students accused the association of failing to address unnamed problems important to their minority peers, then stormed out in protest. Two months later Black students presented President Loehr with a petition bearing 280 student signatures that demanded the recruitment of Black faculty. A meeting resulted after a rumor circulated that Black students planned to stage a protest at the college’s homecoming football game if their demands were not met.42

In the following spring of 1970, BSU spokesperson Larry Ellis presented President Loehr with a list of demands that not only called for the hiring of Black professors but also instituting an independent Black studies department with a curriculum transferable to four-year colleges and universities. As part of the campus’s overall infrastructure, the students called for a Black studies section in the campus library. And, to support the success of students, the BSU listed the need for Black counselors, financial aid administrators, and staff employees.43 The next year at Moorpark College, in October 1971, thirty Black students cleared the library’s bookshelves in protest of the campus’s refusal to hire a Black secretary for an open position. Like Chicana-Chicano students at Moorpark College earlier that March, the BSU held an on-campus conference with the goal “to create a black awareness within the community while encouraging young blacks toward higher education.” Oxnard resident, activist, and founding member of the cultural organization Harambee Uhuru (Swahili for Freedom Fights), William Terry was one of the several speakers at the conference.44 As the BSU took direct action, Chicana-Chicano students endorsed their demands. Witnesses of broader protest movements in support of farmworkers and against the war in Vietnam, as well as of the student blowouts in East Los Angeles, Ventura County Chicanas-Chicanos reflected upon the needs within their communities. Like the Ventura County CSO and National Association for the Advancement of Colored People earlier, the BSU and MEChA exerted independent, yet parallel, pressure upon the administration of Ventura College to meet the needs of their students. This resulted in the appointments of Isaiah “Bubba” Brown and Ray Reyes as counselors at the Minority Student Center (MSC) in the winter of 1971.45

Networks in the Southern California region tethered together the activism of Chicanas and Chicanos at various high schools, colleges, and universities. Young men and women traveled roads and freeways to visit campuses, cruised lowrider cars on main streets, socialized at parks, and dated love interests in other communities. They voraciously read alternative newspapers and magazines that spoke to their experience: Con Safos, El Chicano, La Causa, El Gallo, El Grito, El Malcriado, and La Raza Magazine, to name a few. These publications, and others similar to them, established translocal, shared experiences.46

Other students participated in landmark protests and conferences such as East Los Angeles’s Chicano Moratorium, La Marcha de la Reconquista, the Santa Barbara Conference of El Plan that was named after it, the protest marches of the United Farm Workers, and the Denver Youth Conferences. As Chicana- Chicano students listened to the speeches of anti–Vietnam War protestors such as sfvsc student Gilbert Cano, César Chávez, Dolores Huerta, Rodolfo “Corky” Gonzalez, and others, they were inspired by the defiant messages that contextualized their sense of history, mythology, and status. People who participated in or observed these events found their own experiences with racist systems of oppression affirmed; in other words, they discovered that their grievances were not imagined or individualized. This in turn inspired them to invite iconic figures of El Movimiento to their own campuses. And if they could not attract big-name movement people, Mechistas at Moorpark and Ventura College brought in local academics and activists to interpret and comment on the events of their time.

In oral history interviews, Manuela Aparicio Twitchell of Fillmore, Yvonne De Los Santos of Saticoy, and Roberto Flores and Jess Gutiérrez, both from Oxnard, expressed with pride the work they had performed in programming Cinco de Mayo and Mexican Independence Day celebrations. Collectively, organizers developed their leadership skills, which entailed the formal submis- sion of proposals for campus authorization and funds as well as the logistical navigation of bureaucratic systems. In the process Mechistas developed cross-cultural alliances with other students to support peers on Associated Students boards for the sponsorship of their events. And, on the day of a program, Mechistas enhanced their talents at public speaking by serving as emcees and, at times, filled in for no-show guests.

For the campus’s Cinco de Mayo Celebration of 1971, Moorpark College MEChA hosted Reies López Tijerina Jr. (the son of the land grant activist in New Mexico) and Rodolfo “Corky” Gonzales. The pair were part of a two-day program of speeches and performances that included Chicano poet Alurista, guitarist-folklorist Suni Paz, and Mariachi Uclatlan from ucla. An evening concert featured the music of the Thee Midniters and Dark Corner.47 The next year MEChA successfully booked Reis López Tijerina himself. But, that time, the organizers would add a twist to the celebration. Instead of a two-day program, the event took place over three days. And, in the spirit of El Plan de Santa Barbara, of bringing barrio communities to colleges and universities and vice versa, Moorpark College MEChA scheduled events on campus and in the communities of Oxnard and Santa Paula. The program entailed talks by, again, Alurista, and movement leaders of the Mexican American generation such as labor and immigrant rights activist Bert Corona, Armando Morales of ucla and author of the book on police violence Ando sangrando, as well as Sal Castro, who mentored student leaders in the East Los Angeles blowouts. Teatro Aztlán of SFVSC and the college’s own Teatro Quetzalcoatl performed actos, or short plays.48

It was at Moorpark College that Gutiérrez became further politicized, both by the zeitgeist and the knowledge he learned. Coupled with the counterhegemonic perspectives espoused by movement speakers and that of his peers, the inchoate body of Chicano studies literature expanded his worldview. And although Moorpark College did not have a Chicano studies degree, MEChA served as the focal point of support for first-generation college students.49 Gutiérrez had been so inspired by his involvement in Moorpark College’s MEChA that he ran for a seat on the politically conservative OUHSD Board of Trustees.50

Minority Student Center

Once matriculated on college campuses, Chicanas-Chicanos noticed BSU’s demand for the curricular inclusion of their own experience and support ser- vices. This prompted them to develop similar petitions. At Ventura College, for example, both Black and Chicana-Chicano students made one demand in a parallel manner, for a minority students center. Their call converged in a meeting with the college’s administration in May 1970. BSU and MEChA also pushed simultaneously, yet separately, for tutorial services to advance the retention of first-generation college students.51

Starting in 1972 the two organizations also collaborated each year in a Christmas charity fashion show. The proceeds from the event went toward the distribution of food baskets for the needy. Once the campus established its Minority Student Center, the two clubs jointly planned other programs. In one case they sponsored a weeklong series to educate the campus about the history and culture of their respective heritages. Spokespersons from each club articu- lated two outcomes. For example, in relation to space, counselor and MEChA faculty advisor Reyes stated, “We will convert the [patio] area into a Mexican marketplace in an effort to reproduce the festival that is held in Huachemango (a Mexican city) each year at this time.” And in relation to the analogous experi- ences of Blacks and Chicanas-Chicanos, Larry Ellis stated, “The black and brown peoples are deprived culturally and educationally here and this is our chance to do our own thing and we want people to know what we are and can do.”52

But the existence of the Minority Student Center unsettled Louis Zitnik, who felt that it segregated people and compromised notions of racial equality. For Zitnik inequities among racial groups were financial. As a result he called for unity among the economically disadvantaged, as race, he thought, only served to disunite people with common interest.53 Vietnam veteran and student Arnulfo Casillas offered a response that complicated the notion of people of color being a minority in Ventura County, pointing out that several communities did not have white-majority populations: for instance, Moorpark, with 60 percent of its residents of Mexican origin, and both Fillmore and Santa Paula, with 50 percent of its residents as such. To appreciate the true character of segregation, Casillas referenced the spatial isolation that ethnic Mexicans experienced in the barrios of La Colonia in Oxnard, the Avenue in Ventura, Grant Avenue in Santa Paula, El Campo of Saticoy, and El Campito of Fillmore. It was in such places that people failed to enjoy the services they paid in taxes that white-dominant communities enjoyed. Casillas highlighted that this contributed to Chicana- Chicano students not graduating from or dropping out of high school at a rate of 50 percent. This exclusion also evidenced itself in the Vietnam War, where Chicano military servicemen consisted of 20 percent of the casualties when they only made up 5 percent of the population in the Southwest.54

The Minority Student Center gained greater visibility when MEChA, with the support of the Associated Students, convinced President Loehr to permit the installation of a mural on the building in the spring of 1973 in time for the campus’s annual Cinco de Mayo celebration. Created by Blas Menchaca, the mural consisted of a gendered mosaic of tiles with images of patriarchal icons of Mexican history Joaquin Murrieta, Father Miguel Hidalgo y Costilla, Benito Juárez, Jose María Morelos, Cuauhtéhmoc, Pancho Villa, Emiliano Zapata, and Che Guevara below the rain god Tlaloc.55

Veni, Vidi, Vici Chicana-Chicano Style

Once a critical mass of Chicana-Chicano students found their way to college, they struggled to create a conducive campus culture. Ultimately, with the guid- ance of Mexican American generation mentors such as Reynoso and Reyes, they accomplished this. One objective entailed the promotion of Mexican culture on campuses. Another sought to create additional structures of support like the Minority Student Center, as many Chicana-Chicano students did not have the scholastic preparation and financial means to sustain their retention on campus. Then there were students that did not understand the connection of a higher education with improved life chances in employment, housing, health care, as well as the intergenerational transfer of social capital. This being the case, it was critical for Chicana-Chicano students—with the support of faculty, staff, and administrators who, in effect, served in loco parentis—to create systems that holistically developed students.

On March 19, 1969, the Raiders Reporter published an unsigned essay titled “Chicano Speaks: The Mexican Fiesta—a Chance to ‘Discharge the Soul.’” The anonymous writer (or collective) described cultural events as the expression of the community’s soul in an oppressive society that sought the eradication of the ethnic Mexican presence. The essay went on to proclaim, profoundly, that “the fiesta is a revolt, a revolution    The fiesta unites everything: good and evil, day and night and the sacred and profane.”56 Therefore, music, theater, and lectures promoted by MEChA in Ventura County middle schools, high schools, and colleges enabled Chicana-Chicano students to declare a restorative cultural pride. This often occasioned the blare of trumpets and the strum of string instruments (violins, el guitarrón, and vihuela) as mariachi sang the songs of Mexico in the heart of campuses during the midday, when students walked to and from class. Within a hegemonic context in which all that was Mexican was subordinated—if not at best considered mediocre compared to the standards of European culture—the open-air reverence for Mexican traditions by ethnic Mexican students born or raised in the United States was, as the unsigned Raider-Reporter letter of March 19 proclaimed, a revolutionary act.

At Ventura College music professor Frank A. Salazar and his Spanish faculty colleague Francis X. Maggipinto worked with Chicana-Chicano students in 1968 to develop a Mexican-style Christmas program that would, in the words of Salazar, “totally immerse” the campus in the traditions of Mexico. The Mexican American generation professors and students invited children from the Ventura barrio of the Avenue and Santa Paula to instill in them not only a unique sense of Chicana-Chicano culture but also to sow semillas (seeds) on the importance of a college education.57

The promotion of música mexicana included songs of the 1950s. This finessed the inclusion of intergenerational ethnic Mexican cohorts of migrant prove- nance. It also integrated others equally influenced by the sounds of Motown and r&b. Raves encompassed all students attracted to this genre of music, as the mellifluous Brown sounds demanded attention. As this took place, Mechistas recruited members and won over intergroup supporters. Mechistas of Ventura College took this one step further when they obtained an hour of weekly airtime on kacy radio, hosted by Bernardo Larios, titled La Hora del Chicano. By way of the sponsorship of such programing, Mechistas not only developed culturally responsive environs, but also advanced the goodwill of their institutions in the barrios and colonias from which they came, making their schools truly “community” colleges.58

The promotion of Mexican cultural expressions also served as a praxis of restoration. Celebrations of El Diez y Seis de Septiembre (Mexican Indepen- dence Day), Cinco de Mayo, and Día de los Muertos (Day of the Dead), for example, contested the dominant cultural view that depicted ethnic Mexicans as perpetual “aliens.” In the spring of 1973, Casillas expressed this perspective when he stated, “When we go into the celebration of Cinco de Mayo, may we remember that this is not a foreign culture, but one that is very much a part of all that we have seen and experience during our lifetime, in our history.”59 Renascent celebrations in Ventura County schools and colleges elevated the profile of ethnic Mexican students, particularly those active in MEChA. This not only attracted a steady cycle of new members but also inspired Mechistas

to pursue campus leadership opportunities. Two such instances involved the election of representatives. The first consisted of the campus election of homecoming queens at Moorpark and Ventura College; the second entailed the election of Associated Students (as) board members at both campuses. In 1969 Manuela Aparicio ran for homecoming queen at Moorpark College and was voted the runner-up. When Chicana-Chicano peers asked why she entered the competition, she answered why not. In the fall of 1970, Jeanette Velasco represented MEChA as a candidate for homecoming queen at Moorpark College. She ran against Luedora Wallace. Interestingly, the newspaper was silent on who won this race. Two years later Aurelia Aparicio, Manuela’s sister, won the title of homecoming queen. At Ventura College, in the fall of 1969, MEChA successfully campaigned for Betty Luna to be homecoming queen. The next year Jayne Lopez of Santa Paula was one of three elected by the students as finalists. The other two were BSU candidate Debbie Shelton and Maureen Cooney, sponsored by the Associated Men’s Student club. The football team made the final decision, and, again, the campus newspaper was silent on who the team chose.60 But the actual outcome of who won was secondary to the candidacies of Chicanas and Black women to run for elected positions—putatively the privilege, if not the right, of white contestants.

In 1969 MEChA member Richard Hernandez served as president of Moor- park College’s ASB. At the end of his term, he endorsed the candidacy of fellow Mechista Angel Luevano, who won, as his successor. In 1972 Zeke Ruelas was elected speaker of parliament at Moorpark College.61 But the most pronounced expression of the actualization of power by Chicana-Chicano students took place at Ventura College. At the behest of their Mexican American generation advisor, Ray Reyes, who mentored them to be a politically active and savvy organization that administered budgets, as opposed to just being a social club, Ventura College MEChA students held tremendous influence over the as board for much of the 1970s. But in 1975 it achieved its zenith as the school newspaper focused on MEChA’s representative majority on the as board. A Crystal City moment, however, occurred that spring semester, when MEChA members and MEChA-endorsed candidates swept the as election. In addition, nine other nonexecutive posts were held by MEChA members. Graciela Casillas, the younger sister of Arnulfo, won the position of ASB president. Pleased by the result, Casillas graciously expressed her appreciation for MEChA’s support and promised to represent the interests of all students. But fellow Mechista and Casillas’s predecessor as the outgoing ASB chair, Manuel Razo, was not so politic; he brazenly stated to the school reporter, “Just put ‘MEChA wins, honkies lose.’ . . . It’s only obvious that MEChA is the strongest organization on campus. We are the power structure of the college.” Similarly, Jesus Hernández proclaimed after winning the seat of ASB vice-president, “My number one priority is MEChA members needs Mi raza primero. We came, we saw and we conquered.” Like Casillas, though, Lupe Razo, who won the post as ASB secretary, more inclusively expressed her appreciation for MEChA’s support and vowed to work on the behalf of not only Chicanos but also all women.62 In response to the subsequent backlash, MEChA embarked upon political damage control. In March 1975 it held a weekend conference. In an interview with reporter for the Pirate Press, Jaime Casillas, the brother of Graciela and Arnulfo, stated that the purpose of the event was to recruit new members and to address false ideas about MEChA, since the remarks of Razo and Hernán- dez confirmed in the eyes of many their view of the organization as exclusive, aggressively militant, and resolute in the reconquista of the Southwest. For the most part, however, the goals and objectives of the organization were moderate, inclusive of all people, regardless of ethnicity and race. Most of all the organization was reformist in character, in terms of its pursuit of progressive change within extant institutions.63

But the braggadocio of two of its members made MEChA politically vulnerable. Ventura College’s Alpha Gama Sigma (AGS) ran a slate of candidates of its own in the spring 1975 election for the executive posts of the as board. In previous elections incumbents often ran unopposed. But this cycle was different; AGS ran against Mechistas to diminish, if not demolish, the organization’s power. As the campaign commenced, both AGS and MEChA candidates denied that their election would result in their favoritism of one group of students over others.64 Michael C. Dill, AGS candidate for the Office of Finance, who ran against Mechista Tony Valenzuela, wrote a letter to the editor right before the election. He commended MEChA for the organization’s engagement in campus affairs and how its activism inspired him to run for the as board to break its political domination. The goal was not to eliminate completely MEChA’s presence on the as board, but he desired more balanced representation.65 In the end, however, the Mechistas lost all seats on the board of student government.66

A Contretemps of Identities

In addition to collective actions of self-determination on campuses and in their communities, Chicana-Chicano youth asserted their new identity in a more individualistic fashion in print distinctive from their elder counterparts with Mexican American or Mexicanist identities. Combined, local movements and the propaganda of the larger movimiento influenced the ways in which young men and women viewed themselves as a people. The term “propaganda” in U.S. culture connotes a certain stigma of bias and rhetoric; in the tradition of Mexican culture, however, propaganda involves public relations in the dissemination of values. In this regard Chicana-Chicano youth challenged those who questioned the identity they espoused. This debate, often heated, emerged in the letters to the editor within campus and community newspapers.

An extended conversation commenced on the label “Chicano” when the Oxnard Press-Courier reported in January 1970 California State College Hay- ward’s implementation of a Chicano studies program. This raised the ire of city of Ventura resident R. De Leon, who emphasized the pejorative provenance of the moniker. De Leon argued that people who identified themselves as Chicano desired attention and held a “chip on their shoulders.” Although De Leon respected the right of individuals to identify themselves as they wished, he challenged the newspaper’s use of the label to describe the Mexican American community, since individuals like himself rejected it. The next month Jerry R. Rosalez, like De Leon, opposed the daily’s identification of ethnic Mexicans as Chicano; this, in his opinion, referenced a group of impostors.67 In the same edition of the newspaper that printed Rosalez’s letter, however, Faye Villa, a resident of Ventura County’s city of Camarillo, challenged De Leon’s perspective. She asked rhetorically if he had taken a poll to determine that most ethnic Mexicans disliked the label “Chicano.” Villa went on to contend that the Anglo use of the label “Spanish” was a euphemism and rebutted the notion that ethnic Mexicans were not different than “anyone else.” In fact, Villa held, ethnic Mexicans suffered racism in the United States due to their appearance; she concluded her letter by stating that he should “accept it [being of a distinct ethnicity] and live with it—happily.”68

Daniel E. Contreras did exactly this. The next day the Oxnard Press-Courier published a letter that defined his sense of the “Chicano” soubriquet. Contreras referenced the infamous opinion of Judge Gerald S. Chargin, who espoused a racist characterization of a Chicano youth convicted of raping his sister. Contreras mentioned three ways in which the Chicano, as a community, was “exercising his shoulders.” One was by an unnamed Chicano lawyer working to have Chargin removed from the bench. The second entailed the recruitment of Chicanos to go onto college. Third, Contreras concluded, “in essence, to be a Chicano is to believe and live as one. One is born a Mexican but one becomes a Chicano by choice.  I don’t relish encounters with people with chips on their shoulders, but it’s just as bad, if not worse, dealing with people with no shoulders at all.”69 Under the pseudonym “Nomas Milando” (roughly translated to “just observing”), a writer in the Voice of the People section, published on February 7, responded to the contribution of Rosalez. He contextualized the label in relation to the need for ethnic Mexicans to be prideful of their heritage within an “Anglo society” that denigrated every aspect of their being. Furthermore, to compel self-erasure, society forced ethnic Mexicans to identify with the moniker of “Spanish American.” But what was important was that people determine their own identity. In fact, Nomas Milando contended, an internalized white supremacy grounded Rosalez’s objection to the word “Chicano.” This entailed the portrayal of ethnic Mexicans as criminally inclined, if not in fact criminal, and lazy. He also referenced a statement made by deceased senator Dennis Chávez of New Mexico that when Mexican Americans won a congressional medal of honor for valor, they were labeled “Latin American”; when they won political office they were “Spanish American”; and, when unemployed, society tagged them as “Mexican.” Nomas Milando concluded, “So with this in mind, Mr. Rosalez, please do not lose sight of the ‘real’ problem. Direct your energies to stamp out the existing cancer [i.e., racism] of our society and do not waste your time bickering over an idiomatic term.”70

As part of the ongoing contretemps, the Oxnard Press-Courier published an essay by Contreras in late February titled “Chicano Power Defined.” Contre- ras referenced the song “Chicano Power” by the East Los Angeles band Thee Midniters to argue that the epithet encompassed all ethnic Mexicans with a U.S. life experience—at least with persons who identified as Mexican in the first place. “Chicano Power” signified the centrality of an education for the well-being and advancement of the ethnic Mexican community; a relevant curriculum would instill a positive self-concept and, in the process, challenge negative stereotypes perpetuated by a white, ethnocentric media. Contreras credited the Brown Berets for their promotion of cultural pride, like the Black Panthers. For him the Brown Berets were “tough-minded individuals” who struggled by way of direct action for positive social change.71

The initial letter of R. De Leon that protested the Oxnard Press-Courier’s use of the “Chicano” appellation predated by two weeks an op-ed by former Los Angeles Times reporter Ruben Salazar titled “Who Is a Chicano? And What Is It the Chicanos Want?” on February 6, 1970. In this piece Salazar discussed the nuances of the label as expressing a social consciousness of resistance. Conversely, the label “Mexican American” held an inverse connotation less critical of the subordination of ethnic Mexicans. In the words of Salazar, “Chicanos, then, are merely fighting to become ‘Americans.’ Yes, but with a Chicano outlook.”72

Takeaway

An enthusiasm for actualizing positive change and achieving greater representation in society’s institutions with élan inspired the young and old. Since Chicana-Chicano youth existed at all levels of education, campuses served as the grounds for dreaming (to borrow the concept from historian Lori Flores’s work) an enriched condition for ethnic Mexican students in terms of the curricular inclusion of their experiences, support services, and greater representation in faculty and staff. These students, with the guidance of mentors from the Mexican American generation, learned, gained confidence, and worked collaboratively with others to achieve positive changes. Chicana-Chicano students of Ventura County, therefore, fought similar struggles as their counterparts in different parts of the nation, but with a rurban chic all their own.


Frank P. Barajas is a professor of history at California State University Channel Islands. He is the author of Curious Unions: Mexican American Workers and Resistance in Oxnard, California, 1898–1961 (Nebraska, 2012).

Notes:

Excerpt taken from Mexican Americans with Moxie: A Transgenerational History of El Movimiento Chicano in Ventura County, California, 1945–1975 (University of Nebraska Press, 2021)

  1. Yvonne De Los Santos and Roberto Flores, interview by Frank P. Barajas, February 1, 2013.
  2. Roberto Flores, interview by Frank P. Barajas, April 14, 2006; Helen Galindo Casillas, interview by Frank P. Barajas, June 9, 2006; Armando López, interview by Frank P. Barajas, June 21, 2010; Rachel Murguia Wong, interview by Frank P. Barajas, May 30, 2010.
  3. De Los Santos and Flores interview, 2013; Roberto Flores, interview by Frank
    P. Barajas, April 14, 2006; Galindo Casillas interview, 2006; Frank H. Barajas, interview by Frank P. Barajas, May 16, 2020.
  4. De Los Santos and Flores interview, 2013.
  5. Juan Lagunas Soria, interview by Frank Bardacke, January 25, 1996; Flores inter- view, 2006.
  6. De Los Santos and Flores interview, 2013; Laura Espinosa, interview by Frank P. Barajas, May 30, 2012; Galindo Casillas interview, 2006; Moses Mora, interview by Frank P. Barajas, June 1, 2016; Ray and Teresa Tejada, interview by Frank P. Barajas, June 26, 2012.
  7. Eva Barbara Brown, “New High School Clubs Rising to Meet Challenge of Ethnic Awakening,” Ventura County Star-Free Press, February 1, 1970.
  8. Brown, “New High School Clubs Rising.”
  9. Roberto Hernández, Coloniality of the U.S./Mexico Border, 24–27.
  10. “Protesting ci Students Face Suspensions, Principal Says,” Oxnard Press-Courier, February 27, 1969.
  11. “Chicano Educators’ Aid to Be Requested,” Oxnard Press-Courier, November 19, 1970; “naacp Charges Elks Discriminate,” Oxnard Press-Courier, February 23, 1971.
  12. “Farm Workers Return to Jobs After ‘Holiday,’” Oxnard Press-Courier, September 17, 1971; “Fighting Disrupts Oxnard School,” Los Angeles Times, September 24, 1971; “Oxnard Grid Game Canceled; Beatings Cut School Attendance,” Oxnard Press-Courier, September 24, 1971; John Willson, “Oxnard High Violence Forces Closure,” Ventura County Star-Free Press, September 24, 1971; “Oxnard Football Opener Canceled,” Oxnard Press-Courier, September 25, 1971; “Monday Reopen- ing: Oxnard High Seeking Calm,” Ventura County Star-Free Press, September 26, 1971; Peter Martínez, interview by Frank P. Barajas, June 23, 2020.
  13. “Minority Committee to Meet,” Oxnard Press-Courier, October 3, 1971; “Smith’s Resignation Offer Favored by Oxnard Board,” Oxnard Press-Courier, November 12, 1971.
  14. Art Kuhn, “Black Offered Job: Smith’s Resignation Offer Favored by Oxnard Board,” Oxnard Press-Courier, November 12, 1971.
  15. Rick Nielsen, “Oxnard High School Firebombed,” Oxnard Press-Courier, October 31, 1971; “U.S. Enters Oxnard High Probe,” Oxnard Press-Courier, November 1, 1971.
  16. “Editorials: Firebombing Act of Desperation?,” Oxnard Press-Courier, November 2, 1971.
  17. “ohs to Get New Principal Shortly,” Oxnard Press-Courier, December 9, 1971.
  18. Cindy Garcia, “Channel Islands mecha Conducts Clothes Drive for Tijuana Needy,” Oxnard Press-Courier, December 2, 1973.
  19. Karly Eichner, “Candy Sale Contest Starts at Rio Mesa,” December 2, 1973; “mecha
    Sponsored Event Draws 100 Parents,” Oxnard Press-Courier, November 12, 1972.
  20. Diana Borrego Martínez, interview by Frank P. Barajas, July 9, 2012; De Los Santos and Flores interview, 2013.
  21. Jess Gutiérrez, interview by Frank P. Barajas, June 28, 2010.
  22. Borrego Martínez interview, 2012; De Los Santos and Flores interview, 2013; Acuña, Making of Chicana/o Studies, 95, 96.
  23. Jess Gutiérrez lecture, csuci, April 2014; Manuela Aparicio-Twitchell, interview by Frank P. Barajas, July 22, 2014; “mc Opens to 1200 Day Students,” Moorpark College Reporter 1, no. 1, September 29, 1967; “Campus News: Oxnard Repeats Bus Service to College,” Pirate Press, September 19, 1969; “Commuter Bus Routes Approved,” Oxnard Press-Courier, July 14, 1971.
  24. “Berets Present Sheinbaum Today,” Raiders Reporter 2, no. 3, October 4, 1968.
  25. “Moorpark Students Engage in Peaceful Protest at Poverty Conf.,” Raiders Reporter
    2, no. 5, October 23, 1968.
  26. “Of Campus Organizations: Berets Build ‘Community Pride,’” Raiders Reporter
    2, no. 5, October 23, 1968.
  27. “Berets Build ‘Community Pride.’”
  28. Bill Bader, “Of Personalities: ‘I’m Here to Educate You’–Soria,” Raiders Reporter
    2, no. 8, November 13, 1968.
  29. Bader, “I’m Here to Educate You”; López interview, 2010.
  30. “Unity Group Planned for Oxnard,” Oxnard Press-Courier, December 29, 1968; Flores interview, 2006; “Voice of the People: Berets Give Service,” Oxnard Press- Courier, February 3, 1969.
  31. Fbi File, February 5, 1969, courtesy of Milo Alvarez.
  32. Reynaldo Rivera, “Chicanos Suffer in This Country,” Pirate Press, December 12, 1969; “mecha Group Nominates Officers, Representatives,” by Michel Wolf, Pirate Press, May 22, 1970.
  33. Robert Flores, interview by Frank P. Barajas, June 10, 2010; De Los Santos and Flores interview, 2013; Borrego Martínez interview, 2012; Gutiérrez interview, 2010; Ismael “Mayo” de la Rocha, interview by Frank P. Barajas, May 15 and 22, 2014; Fermín Herrera, interview by Frank P. Barajas, August 14, 2019; “Editorials: Study Project Deserves a Chance,” Oxnard Press-Courier, July 5, 1969; Acuña, Making of Chicana/o Studies, 52–54.
  34. “Mexican-America ucsb Course Topic,” Oxnard Press-Courier, August 18, 1969.
  35. Over thirty-five students belonged to Moorpark College mecha; see Steve Horton, “mecha Proposes mc Chicano Study Program: Confrontation with Administration Has Harmonious Start,” Raiders Reporter 2, no. 25, April 23, 1969.
  36. “Mexican Flag Flies at mc in Independence Day Fete,” Raiders Reporter 3 no. 1, September 17, 1969; Muñoz, Youth, Identity, Power, 189–90.
  37. Professor Reynoso was the brother of Cruz Reynoso, who would be appointed to the California Supreme Court in 1981 by governor Jerry Brown; see “New, Yet Familiar: mas Head Reynoso Finds mc ‘Exciting,’” Raiders Reporter 3, no. 4, October 8, 1969.
  38. “Mas Conference Planned at mc,” Raider Reporter 3, no. 9, November 12, 1969.
  39. “Mas Conference Planned at mc”; “Chicano Studies Conference Slated at Moor- park College,” Oxnard Pres-Courier, November 17, 1969.
  40. Bill Sanchez et al., “To the Editor: Open Letter,” La Voz del Pueblo, November 21, 1969.
  41. “Julian Nava,” Raiders Reporter 3, no. 24, April 15, 1970, 4. After his tenure at Moorpark College, Collins went on to continue his support of Chicano studies as president of Bakersfield college; see Rosales, “Mississippi West,” 172–73.
  42. Raoul Contreras, “Raoul Reacts: Black Power,” Pirate Press, November 15, 1968; Borrego Martínez interview, 2012; Mayo de la Rocha, interview by Frank P. Barajas, May 15 and 22, 2014; “Meet Features sb Walk-Out,” Pirate Press, October 1, 1968; Raoul Contreras, “Black Students, Officials Confront Problem Areas,” Pirate Press, December 6, 1968.
  43. Duane Warren, “Larry Ellis, Black Activities Head, Expounds upon bsu’s Eight Demands,” Pirate Press, January 9, 1970.
  44. “Mc Library Fuss Penalties Pressed,” Oxnard Press-Courier, October 6, 1971; “Moorpark bsu Slates Black Events,” Oxnard Press-Courier, March 3, 1971.
  45. Emilia Alaniz, “Two Counselors Hired to Aid Disadvantaged,” Pirate Press, Decem- ber 4, 1970; “Minority Centers Form New Programs, Goals,” Pirate Press, February 26, 1971.
  46. Blackwell, ¡Chicana Power!, 135; Montejano, Quixote’s Soldiers, 126–27.
  47. Jill Patrick, “4-Day Cinco de Mayo Event Begins Tues,” Raiders Reporter 4, no. 28, April 28, 1971.
  48. “mc Commemorates Cinco De Mayo,” Raider Reporter 5, no. 29, May 3, 1972.
  49. De Los Santos and Flores interview, 2013; Gutiérrez interview, 2010.
  50. Dick Cooper, “People’s Choice,” Oxnard Press-Courier, April 15, 1973.
  51. Michael Kremer, “mecha Outlines Seven Proposals: Dr. Glenn Announces Steps to Implement Minority Plans,” Pirate Press, May 15, 1970; “Minority Students’ Informational Center Opens for Business on vc Campus,” Pirate Press, October 2, 1970; “Campus News: mecha, bsu Organize Tutoring for Disadvantaged,” Pirate Press, October 23, 1970.
  52. “Bsu, mecha Present Show,” Pirate Press, December 8, 1972; Dennis McCarthy, “Minority Center Plans Festivities,” Pirate Press, May 7, 1971.
  53. Louis Zitnik, “Letters to the Editor: Minorities,” Pirate Press, March 30, 1973.
  54. Arnulfo Casillas, “Writer Differs with Letter to Editor,” Pirate Press, April 13, 1973.
  55. “Mecha Mounts Mural,” Pirate Press, May 4, 1973; “Chicano Celebration Con- tinues,” Pirate Press, May 4, 1973.
  56. “Chicano Speaks: The Mexican Fiesta—a Chance to ‘Discharge the Soul,’” Raiders Reporter 2, no. 21, March 19, 1969.
  57. Raoul Contreras, “Mexican Students Propose Festive Christmas Season,” Pirate Press, November 8, 1968; “Mexicans Prepare Holiday Festivities,” Pirate Press, December 6, 1968.
  58. Silvia Monica Robledo, “Letters to the Editor: Chicana Reader Explains, Defends Movimiento, Challenges Campos to Meaningful Participation,” Pirate Press, May 24, 1974.
  59. Arnulfo Casillas, “Cinco de Mayo Explained,” Pirate Press, April 27, 1973. For the study of the usages of history to situate the power of collectives in the Chicana- Chicano community, see Bebout, Mythohistorical Imaginations.
  60. Aparicio-Twitchell interview, 2014; “Jeanette Valasco mecha and Luedora Wallace bsu for Homecoming Queen,” Raiders Reporter 4, no. 9, November 12, 1970; “Aure- lia Aparicio mc Homecoming Queen,” Raider Reporter, November 22, 1972; “Betty Luna Reigns as Homecoming Queen,” Pirate Press, November 7, 1969; “Pirates’ Roy- alty for Homecoming Crowned Today,” Pirate Press, November 20, 1970.
  61. “Hernández Endorses Luevano for Top Post,” Raiders Reporter 2, no. 27, May 7, 1969; Becky Merrell, “New Winds of Activism: mas Program Expanding Understanding,” Raider Reporter 3, no. 14, December 17, 1969; “Rueles Elected as New Speaker of Parliament,” Raider Reporter 5, no. 21, March 1, 1972.
  62. Jenaro Valdez, interview by Frank P. Barajas, June 19, 2019. Tom Richter, “Seven Vie for Four Positions on A.S. Board Tuesday,” Pirate Press, January 10, 1975; Tom Rich- ter, “3 Percent Vote: mecha Sweeps A.S. Elections,” Pirate Press, January 17, 1975.
  63. “Mechistas Hear Platform, Purposes,” Pirate Press, March 7, 1975; Manuel Razo, “Let- ters to the Editor: So What Is mecha All About?,” Pirate Press, October 4, 1974.
  64. Jill Boardmand, “Alpha Gamma Challenges mecha: as Election Set for Next Week,” Pirate Press, May 23, 1975; Jill Boardman and Tom Richter, “Fall as Board Candidates Fight for Leadership Positions,” Pirate Press, May 30, 1975.
  65. Michael C. Dill, “Letters to the Editor: Grouch Runs for Treasurer,” Pirate Press, May 30, 1975.
  66. Leigh Ann Dewey, “as Board: Election Controversy Erupts,” Pirate Press, June 6, 1976; Tom Richter, “ags Wins as Election; Voting Number Doubles,” Pirate Press, June 6, 1975.
  67. R. De Leon, “Voice of the People: Objects to ‘Chicano,’” Oxnard Press-Courier, January 21, 1970; Jerry R. Rosalez, “Voice of the People: ‘Chicano’ Opposed,” Oxnard Press-Courier, February 2, 1970.
  68. Faye Villa, “Voice of the People: ‘Chicanos’ Challenge,” Oxnard Press-Courier, February 2, 1970.
  69. Dan E. Contreras, “Voice of the People: Chicano Spokesman,” Oxnard Press- Courier, February 3, 1970.
  70. Nomas Milando, “Voice of the People: More on ‘Chicano,’” Oxnard Press-Courier, February 7, 1970.
  71. Daniel Eugenio Contreras, “Voice of the People: Chicano Power Defined,” Oxnard Press-Courier, February 23, 1970.
  72. Ruben Salazar, “Who Is a Chicano? What Is It the Chicanos Want?,” Los Angeles Times, February 6, 1970.

© 2021 by Frank P. Barajas.; used with permission by University of Nebraska Press. This is an open-access article distributed under the terms of the Creative Commons Attribution 4.0 International License (CC-BY 4.0), which permits unrestricted use, distribution, and reproduction in any medium, provided the original author and source are credited. See http://creativecommons.org/licenses/by/4.0/.

Poetry

After I’m Gone

Illustration by Fernando Mendez Corona

Michael Torres

I’ve written this poem before. I left Miguel here last
time, sitting in the front row of the church, near
the aisle. He must be asleep by now, his head against
the end of a pew. Maybe he’s dreaming of us alive
and young, walking into an AM/PM. He used to
grab two burgers from the food warmer, slip one
into the bag of another burger. I was a great
lookout. If he went up the aisle with the candy
and grabbed a pack of Twizzlers I knew he was
ready to go. If he took a cup and filled it with Icee,
I had to ask the cashier for a key to the bathroom.
If he ran, I ran, and I’d go left toward the field
past factories. He went right, cut thru the lot of that
church for ex-gang members who every other Sunday
asked God to look upon them again. It must be
the morning after my funeral, Miguel waking up
to his sore feet in those black dress shoes. His tie
loosened. Everyone else gone or never arrived.

*

After death, when it’s just me
with my slick soul, my see-thru
self, I imagine my eyes as two
brown balloons tied together that
a child has let slip from her fingers
and now must watch as they lift
further into a sky she could not have
imagined going on for so long. All that
blue, and I am only the balloons
no one believes in. I am barely out
of sight, looking back down at earth
one last time, watching the town where
I grew up and decided to leave when
I’d felt it shrink around me. I didn’t want
to say it like that, but that’s how it happens
sometimes. The same town I wanted,
nevertheless, to be buried in, I realized
when I was maybe sixteen, standing
in the cemetery for a funeral, burying
a friend of a friend, who did not end up
like his father, though his father was
there, handcuffed and dressed in orange.
His jumpsuit stinging the morning. An officer
at each side. I’d kept that image with me,
of the father, all my life, and would
wonder, from time to time, why the police
had not let him wear a suit to the burial.
I came to the conclusion that they could not
recognize him as a father. They found every
other word to define him. They fit those
handcuffs and felt good about their work.
The rest of the mourners had the freedom
of multiplicity. That morning, everyone’s words
tangled in a rain not so different from the storm

*

I once picked up Miguel in. He was still in love
with a woman who didn’t know what she wanted
except some time to think. It was a Saturday
afternoon when I found him walking in the rain.
Would you even call it afternoon, in a storm
like that? He said thanks after shutting the door.
Maybe both of us laughed for no reason
other than to start conversation, though neither
of us brought up what had happened. I’m a good
lookout. I can say that about myself. I drove on
and he put his face in his hands. I said nothing.
He wore a baseball cap. Deep blue. The radio was
playing low a commercial where someone didn’t
have auto insurance, and their friend asked them
why not. It’s a dumb thing to remember now, but
I can’t separate it from that moment. The wipers kept
smearing the glass. The rain returned. Again. I pressed
the gas and tried to catch up with the hour. I heard his
belt buckle click into place after a moment.


Michael Torres was born and brought up in Pomona, California where he spent his adolescence as a graffiti artist. His debut collection of poems, An Incomplete List of Names (Beacon Press, 2020) was selected by Raquel Salas Rivera for the National Poetry Series and named one of NPR’s Best Books of 2020. His honors include awards and support from the National Endowment for the Arts, the McKnight Foundation, the Bread Loaf Writers’ Conference, CantoMundo, VONA Voices, the Minnesota State Arts Board, the Jerome Foundation, the Camargo Foundation, and the Loft Literary Center. Currently he’s an Assistant Professor in the MFA program at Minnesota State University, Mankato, and a teaching artist with the Minnesota Prison Writing Workshop. Visit him at: michaeltorreswriter.com